本論文主要採用Jackendoff (2002)之平行結構(parallel architecture)來展現客語潛能補語各次構式在音韻、句法以及語意結構的共性與殊性，並據此呈現此構式於抽象性連續體(continuum of schematicity)上由「完全能產性」(fully productive)、「半能產性」(semi-productive)至「完全獨特性」(fully idiomatic)各區段之分佈狀態，進一步歸納出此構式家族之構式基模(constructional schema)以及繼承階層體系(inheritance hierarchy)。在構式語法精神下，每個構式皆是「形式-功能」之組合，Jackendoff (2002)之平行結構極為精細且縝密地描繪構式之「形式」面向。而為了檢視論元角色如何體現於客語潛能補語構式，認知語法中對事件概念之處理方式是不容忽視的，因此，為了補強平行結構在呈現構式「認知功能」面向之不足，本論文將Langacker (1991)認知模型中「行為鏈」(action chain)、「撞球模型」(billiard ball model)、「舞台模型」(stage model)等認知概念整合至平行結構中，用以顯示說話者對事件之概念化如何影響客語潛能構式之論元體現，進一步檢視此構式形式與功能之象徵性關係在連續體上之展現。藉由構式理論與認知模型之整合，本研究為語言形式與功能之對應提供一縝密之分析模式，並得以反思構式語法之應用性與發展性。 / Adhering to the constructional view claiming that every construction is a form-function pairing, this dissertation provides a detailed analysis of the correspondence between linguistic manifestations and speaker's construal of events. The main focus of this study is on the interactions between argument realizations and event conception in Hakka potential complement constructions. In order to show more vividly the subtle interfacing relationships among phonological, syntactic and semantic structures, this study adopts Jackendoff's (2002) parallel architecture to present clearly the degree of schematicity of Hakka PC constructions. On the other hand, further integrating the cognitive representations such as action chains and stage model from Langacker's (1991) Cognitive Grammar into the parallel architecture crystallizes the symbolic relations between the constructional form and function. Members of Hakka PC constructions are shown to be distributed on a continuum of schematicity, from fully productive cases, to semi-productive cases, and finally to fully substantive cases. Moreover, all subconstructions form a family, organized in an inheritance hierarchy in which the one at the lower level inherits general qualities from its inheritor, and at the same time possess its own uniqueness. Integrating the cognitive and the constructional models, this dissertation proposes a fine-grained and full-fledged analysis of both the regularities and the idiosyncrasies of Hakka PC constructions.

本論文探討法語借詞進入國語音韻系統時所採取的音韻調整策略，並從優選理論和語料庫的角度來分析借詞現象，主軸為法語子音和鼻母音的調整模式。 本研究建置一個法語借詞語料庫，並統計音段保留、替代、或刪除的趨向。研究發現，音段保留與調整為主要的轉譯策略，唯有韻尾子音[ʁ]傾向於刪除。數據分析顯示法語借詞中的語言變異(variation)極為普遍，此現象說明國語中的法語借詞尚未完全詞彙化 (lexicalization)，而是仍在持續進行。因此本論文採用ROE模型 (rank-ordering model of EVAL, Coetzee 2006)來解釋法語借詞轉譯的變異現象。 法語音段的調整現象和變異情形可訴諸於制約的排序與互動。根據ROE模型，制約係以中界線(cut-off line)加以區隔，違反中界線以上的候選值會直接淘汰，而僅違反中界線以下的候選值皆可成為優選值。本研究發現，中界線以上的制約包含結構制約、信實制約、以及聯合制約(conjoined constraint);中界線以下的制約則多為信實制約。音韻表徵(phonological features)如[labial]與[nasal]在轉譯的過程中必須保留，而是否違反[voice]與[spread glottis]等表徵僅會造成語言變異。 制約的交錯排序、互動，以及中界線的位置對於法語借詞的現象提出了解釋。借詞音韻並非自成一個系統，而是反映了借入語和普遍語法皆存在的制約。 / This thesis investigates the phonological adaptations of French loanwords in Mandarin. The focus is on the loanword adjustment of French consonants and nasal vowels. A loanword corpus is established. Based on the statistical analysis, the adaptation pattern of each foreign segment is provided. The thesis observes that preservation and adaptation are the major strategies in loanword adaptation. The only exception is [ʁ] in the coda position, which has segment deletion as the major substitute. Variant substitutes are common in French loanwords, which suggest that the loanword adaptation of French is an ongoing process in Mandarin. Optimality Theory (Prince and Smolensky 1993/2004) is the major framework in this thesis. To account for variations, Coetzee’s (2006) rank-ordering model of EVAL (ROE) is also used for analysis. A critical cut-off line divides the constraints into two parts: constraints above the cut-off line, and constraints below the cut-off line. Violations of the former are fatal, while violations of the latter lead to variations. The fatal constraints place restrictions on illicit segments, segment combinations, and prosodic preferences. These crucial constraints include markedness constraints, faithfulness constraints, or even the conjunction of the two. Constraints below the cut-off line are mostly IDENT constraints. Violations of IDENT features such as [voice] and [spread glottis] bring only variations. This is contrary to the violations of IDENT [nasal] and IDENT [labial], which result in ill-formedness. Based on the constraint ranking and the position of the cut-off line, the thesis shows that loanword phonology does not form an idiosyncratic grammar. Instead, it includes the constraints that are latent in L1 and reflects universal grammar.

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

蔡玄暉. / "2002年12月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻(leaves 206-212). / 附中英文摘要. / "2002 nian 12 yue". / Cai Xuanhui. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 206-212). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究林語堂《京華煙雲》的因由 --- p.1 / Chapter 第二節 --- 本文的理論依據 --- p.6 / Chapter 第二章 --- 《京華煙雲》槪述 --- p.11 / Chapter 第一節 --- 《京華煙雲》成書背景 --- p.11 / Chapter 第二節 --- 《京華煙雲》內容簡介 --- p.18 / Chapter 第三節 --- 《京華煙雲》研究現狀綜述 --- p.20 / Chapter 第三章 --- 《京華煙雲》翻譯問題分析 --- p.34 / Chapter 第一節 --- 小引 --- p.35 / Chapter 第二節 --- 郁達夫翻譯《京華煙雲》事件始末 --- p.36 / Chapter 第一、 --- 林語堂邀請郁達夫翻譯《京華煙雲》的原因 --- p.36 / Chapter 第二、 --- 郁達夫文債翻案 --- p.39 / Chapter 第三、 --- 同時期《京華煙雲》爛譯情況 --- p.41 / Chapter 第三節 --- 林語堂翻譯觀簡析 --- p.42 / Chapter 第一、 --- 林語堂翻譯藝術三標準的內容 --- p.43 / Chapter 第二、 --- 林語堂翻譯藝術第一標準:對作者負責 --- p.44 / Chapter 第三、 --- 林語堂翻譯藝術第二標準:對讀者負責 --- p.45 / Chapter 第四、 --- 林語堂翻譯藝術第三標準：對作品負責 --- p.47 / Chapter 第四節 --- 《京華煙雲》三個主要中譯本比較 --- p.51 / Chapter 第一、 --- 《京華煙雲》三個中譯本（全）介紹 --- p.51 / Chapter 第二、 --- 鄭、應譯本、張譯本和郁譯本比較舉例 --- p.57 / Chapter 第五節 --- 小結 --- p.68 / 附文一 --- p.70 / 附文二 --- p.77 / Chapter 第四章 --- 《京華煙雲》女性形象分析 一一以姚木蘭、孫曼娘、牛素雲爲例 --- p.83 / Chapter 第一節 --- 小引 --- p.83 / Chapter 第二節 --- 婦女解放問題 --- p.84 / Chapter 第三節 --- 林語堂的女性觀 --- p.90 / Chapter 第四節 --- 典型人物分析 --- p.99 / Chapter 第一、 --- 分析對象簡介 --- p.99 / Chapter 第二、 --- 家庭的重審：「家」還是「枷」？ --- p.103 / Chapter 第三、 --- 身份的迷亂：爲妻還是爲妾？ --- p.115 / Chapter 第四、 --- 命運的困惑：順從還是抗爭？ --- p.123 / Chapter 第五節 --- 小結 --- p.132 / Chapter 第五章 --- 《京華煙雲》敘事結構深層內蘊探討 一一以《紅樓夢》爲參照物 --- p.134 / Chapter 第一節 --- 小引 --- p.134 / Chapter 第二節 --- 《京華煙雲》敘事結構所蘊含的生命意識 --- p.139 / Chapter 第一、 --- 《京華煙雲》的逃難結構：對生命家園存在的否定 --- p.139 / Chapter 第二、 --- 《京華煙雲》的個體生命結構：浮生若夢的生命意識 --- p.143 / Chapter 第三、 --- 《京華煙雲》的家族人物結構：反觀生命的無常與脆弱 --- p.148 / Chapter 第三節 --- 《京華煙雲》生命意識探源 --- p.154 / Chapter 第一、 --- 林語堂的成長環境 --- p.154 / Chapter 第二、 --- 林語堂特殊的基督教教育經歷 --- p.157 / Chapter 第四節 --- 小結 --- p.161 / 後記 --- p.163 / 附錄一林語堂生平著作年表 --- p.166 / 附錄二 《京華煙雲》研究資料 --- p.184 / 附錄三 林語堂及其作品硏究資料 --- p.186 / 參考文獻 --- p.206

No description available.

No description available.

本研究旨在透過說話者對稱讚之不同應答，探討存在於中國社會中，不同群體間之溝通問題。稱讚應答(compliment response)可分為三種俗定語(routine)：「否定」、「迴避」、以及「接受」。基於此三項分類，研究者提出四組假設：(一)傳統「否定別人稱讚」的回應方式，已漸被「接受別人稱讚」所取代；(二)具不同社會特徵之受試者，對三種俗定語持不同偏好；(三)俗定語的選擇與親近程度共變；(四)稱讚應答是否細分，依親近程度而定。資料主要採集方式，以問卷發放行之。親近程度乃由四項因素操控：熟悉度、輩份、階級、以及性別差異。在十三個題目中，受試者須自九個選項選出答案，以回應不同親近程度的人所給予之稱讚。蒐集的資料，以卡方考驗分析之。 「稱讚應答」正在改變是首要發現：「接受」的回應已超越了傳統的「否定」而成為新的慣例。這或許與「個人主義」從固有受壓抑之自我中釋放出來有關。其次，稱讚應答會依受試者之年齡、性別、及教育程度而有不同偏好。大柢而言，高教育程度、年齡介於36至45歲、及女性最有可能主導此稱讚應答之改變。其中，又以36至45歲、擁有高學歷之女性為最。這幾個社群的主導權，可能來自於自身的獨立思考、反權威思潮、以及女性主義運動的影響。其三，稱讚應答的細分與否，確與親近程度有關。在與熟人暨不同輩分的人應對時，稱讚應答會有較精細的區分。其四，「接受」的選用會隨親近程度而改變；然而此關係在「否定」的選用上並未發現。其五，「直接與否(±direct)」與「接受與否(±accept)」兩組觀念即可充分解釋稱讚應答的基底結構。大體而言，四組假設幾乎都證實為真。 上述發現，可經由中國社會裡，整體價值轉型所引起的個人基模改變所解釋。文中嘗試以李齊(Leech)的謙遜原則(Modesty Maxim)與同意原則(Agreement Maxim)，復以布朗與萊文生(Brown and Levinson)的面子處理原則(face want approach)解釋此變異與變遷。個人主義所促發的相異禮貌原則(Politeness Principles)與傳統文化所形成的相同期望之間的拉鋸，突顯出現代與固有間的矛盾與衝突。 此研究在幾個方面迥異於前人：(一)對稱讚應答的分類最少；(二)對於基模做量化的探討；(三)賦子面子處理原則新的詮釋；(四)以動態時間的觀點闡述禮貌原則的應用情形。 / This study is aimed at exploring the communication problem between different social groups via the change of compliment response in Chinese society. Compliment response is divided into three routines: rejection, avoidance, and acceptance, based on which, four hypotheses are proposed: a) the traditional compliment routine－rejection－is surpassed by acceptance; b) the preference for a certain routine of compliment response co-varies with informants' social characteristics; c) the selection of routines varies with intimacy; d) the differentiation of compliment response varies with intimacy. Questionnaire is the main tool to collect data, within which intimacy is controlled by four factors: familiarity, generation, ranking, and gender difference. Nine possible answers are offered for the informants to respond to the compliment paid by people of different intimacy in thirteen questions. The collected data is analyzed with Chi-Square test. The first major finding is that compliment response is changing, with the use of acceptance surpassing traditional rejection and becoming a new normative response. This may be related to the release of individualism from the traditionally repressed self. Second, compliment response is diverse according to the classification of informants by age, gender, and educational level. Higher educational level, middle age group, and females all contribute to the change, among which, higher-educated, middle-aged females' behavior is the most significant. This may be explicated via independent thinking of informants, anti-authoritarianism movement, and feminism. Third, the differentiation of compliment response co-varies with the degree of intimacy. More elaborate differentiation is used in talking to familiars and different generation. Fourth, the selection of acceptance varies with intimacy while rejection does not. Fifth, [±direct] and [±accept] are sufficient to account for the deep structure of compliment response. Generally, almost all the hypotheses are verified. The above findings can be explained by the change of frame caused by the value shift in Chinese society. Leech's Modesty and Agreement Maxim as well as Brown and Levinson's face want approach are adopted to account for the variation and change. It is proposed that the keen competition between various politeness principles, resulting from individualism, and identical expectation, formed by the traditional culture, manifests the conflict of modernization and tradition preservation. The study is different from previous ones in several respects: a) the least classification of compliment response, b) a quantitative study of frames, c) a new interpretation for face want approach, and d) the application of politeness maxims from a dynamic point of view.

在網際網路眾多功能當中，溝通是重要的活動之一，網際網路溝通式活動包含了電子郵件，電子布告欄等。網際網路溝通式活動具備的一些特性，例如互動性，以及真實語言與情境的使用使得網際網路溝通式活動在英語教學上漸漸成為重要的輔助工具。本篇論文旨在從英語教學理論與應用兩方面探討網際網路溝通式活動於英語教學上之應用。在理論層面，本論文主要從溝通式教學法，以及其他英語教學上重要的理論依據來剖析網際網路溝通式活動。在實際應用方面，本論文對於國內外老師運用網際網路溝通式活動的情形作了一個調查研究。從理論與應用情形的調查結果發現，網際網路溝通式活動對於英語教學確實有其正面意義，不過結果也顯示在應用的過程中亦有一些問題存在，如何解決這些問題以及如何設計良好的網際網路教學活動以促使網際網路溝通式活動能成為有效的教學輔助工具則必須更多的教師與專家們共同努力研究。 / With the rapid development of the computer technology, the computer network has been widely introduced into everyday life around the world. Communication is an important function provided by the Internet. The computer-mediated communication (CMC) system provides an interactive and communicative environment for users to share ideas and exchange messages. Due to the various characteristics, the CMC system has gradually become an important facilitator in EFL/ESL education. In the study, the CMC system is investigated from the theoretical base and the practical aspect. In the theoretical aspect, the CMC system is thought to be effective in facilitating EFL/ESL education from the latest EFL/ESL theories or approaches. In the practical aspect, a survey is designed to investigate the implementation of the CMC system around the world and in Taiwan. The results of the survey show that in face of various CMC tools, many college teachers in Taiwan still have little idea about them, and the CMC activities that are implemented in Taiwan seem to be fewer and lack of variety when compared with those around the world. As for the benefits and problems of the CMC activities for EFL/ESL teaching, most teachers think that the CMC activities have brought many benefits in facilitating EFL/ESL teaching, but some problems still exist so as to decrease the effect of teaching. From the general discussion, some suggestions and implications for EFL/ESL teaching are proposed in the study.

本文擬由後設小說觀點探討蕾莘的作品《金色筆記》。本文詮釋的模式主要分為三類：結構、語言及讀者定位。旨在討論真相與虛構的界線、語言的不確定性、環套結構、諧擬策略以及讀者與作者、文本之間的互動性。 後設小說常運用顛覆讀者習以為常的傳統閱讀習慣。藉以揭露作者之虛擬創作過程，突顯創作的虛構性，無涉真實人生。《金色筆記》不論在內容及題旨上皆敏銳反應此種高度自覺意識，拒絕讓讀者耽溺在作者編織的想像空間裡。藉由諧擬傳統的文類，一方面使讀者不致產生強大的拒斥感；另一方面又刻意使讀者的期待落空，藉此逼迫讀者跳脫閱讀文本的被動習性，進而成為另類文本創作的開端。 / This thesis attampts to probe into Doris Lessing's most renowned work, ~u2;The Golden Notebook~u1;, in the context of metafiction writing. The main body of the thesis is divided into three main parts--language, structure, and the role of the reader. The main concern of this paper is to discuss the division between truth and illusion, the indeterminacy of language, the Chinese box structure, the device of parody, and interrelationship between author, reader and text. By questioning the issue that the reader is habitually used to be passive and by laying bare the process of writing, the metafictionist fictions manifest the fact that the fictional world tends to be a fictive construct rather than a duplication of a real world. Formally and thematically, ~u2;The Golden Notebook~u1;, reflects the spirit of self-consciousness, preventing the reader from being immersed in the fictional world fabricated by the author. By parodying the conventional novels, ~u2;The Dolden Notebook~u1; at first provides the sense of familiarity to lessen the anxiety of the reader; and then it attempts to frustrate his/her expectation by making the text in an unconventional way. In so doing, the role of the readercan be transformed from a passive consumer into an active This thesis attampts to probe into Doris Lessing's most participant. renowned work, the Golden Notebook~u1;, in the context of metafiction writing. The main body of the thesis is divided into three main parts--language, structure, and the role of the reader. The main concern of this paper is to discuss the division between truth and illusion, the indeterminacy of language, the Chinese box structure, the device of parody, and interrelationship between author, reader and text. By questioning the issue that the reader is habitually used to be passive and by laying bare the process of writing, the metafictionist fictions manifest the fact that the fictional world tends to be a fictive construct rather than a duplication of a real world. Formally and thematically, ~u2;The Golden Notebook~u1;, reflects the spirit of self-consciousness, preventing the reader from being immersed in the fictional world fabricated by the author. By parodying the conventional novels, ;The Dolden Notebook at first provides the sense of familiarity to lessen the anxiety of the reader; and then it attempts to frustrate his/her expectation by making the text in an unconventional way. In so doing, the role of the readercan be transformed from a passive consumer into an active participant and creator.

Recently some language courses based on so-called “fashion language” were developed in different countries, particularly in England, Italy and France. We predict that Chinese “fashion language” will become important in the world of fashion design and a course on Chinese “fashion language” will be in great demand by people working in the fashion industry. It is noticed that students studying Chinese in regular classes are not able to read fashion magazines and utilize “fashion language” because it includes special terminology and stylistics. “Fashion language” is a language for specific purpose (LSP) and as any LSP it has specific features. This study focuses on the features of “fashion Chinese” by analyzing the texts of Elle Taiwan, Vogue Taiwan, Marie Claire Taiwan magazines and fashion resource Style.com.tw. We have applied corpus ananlysis in our research, and recommendations for a language course on “fashion Chinese” are given in the final part of the study.