《切韵》系韵书所见语音及对其认识的演变

发布时间：2018-05-06 00:04

  本文选题：《切韵》系韵书 + 认识　； 参考：《武汉大学》2016年博士论文

【摘要】：从隋代陆法言的《切韵》起到宋代官修的《广韵》止,《切韵》系韵书经历了四百余年的时间,各种版本所反映的中古语音系统大同小异,既一脉相承,又每有增减调整,对《切韵》系韵书共性的“大同”方面固然需要把握,其中的“小异”亦不容忽视,藉着前后版本之间的不同现象,可以观照隋唐五代宋初时期中古语音的演变以及时人对中古音系的认识的发展。本文从声纽、增韵和韵次三大问题着眼,比较《切韵》系韵书前后各本的同异,从而考察中古时代的汉语语音及其认识的发展变化。在声纽问题上,一方面《切韵》系韵书早已完成了对音系中的声类的分析和归纳,继而逐步感知区分出声纽发音部位的同异和远近,声纽认识成绩斐然,但相较而言仍远逊于韵类和声调,这种认识的相对滞后性与《切韵》系韵书所处时代的社会文化风尚息息相关。在增韵问题上,王仁f+撰《刊谬补缺切韵》在《切韵》的分韵基础上增添了严韵系的上、去二声调上的韵部,并非只为填补空缺的画蛇添足之举,而是对中古时代严、凡两韵系语音分化的揭示,《广韵》和《集韵》的韵部同用关系之变化以及严凡语音的历时发展和方音分化等方面均可得以印证。此外,孙俪编《唐韵》分别从真、寒、歌三个韵系中区分出谆、桓、戈三个韵系共11个韵部,孙氏区分这三组韵部乃是对它们之间主元音差异的披露,晚期《切韵》系韵书文献、现代汉语方言的韵母分化以及音理演绎分析等资料均可提供证据。在韵次问题上,韵簇的存在表明《切韵》系韵书编者对中古汉语语音的系统化认识,其编排韵部是遵循语音相近类聚的规律进行的。《切韵》系韵书的韵次格局可以归纳出分别以《王三》、《王二》和《广韵》为代表的三种,不同的韵次反映韵书编者不同的语音观念和认识发展,其中以入声韵次的特殊性尤为突显,通过梳理中古四声相配认识的发展历程,引出对中古入声的性质及其在四声学说中的位置的反思：入声本质上是一种带有唯闭不破塞辅音韵尾的一种韵母结构形态,传统四声说中入声与平上去三个声调相提并论其实是横跨了韵母和声调两种范畴。
[Abstract]:From Lu Fa-yan of the Sui Dynasty to the official rhyme of the Song Dynasty, the rhyme book of the system has experienced more than 400 years. The phonetic systems of the Middle Ages reflected by various versions are much the same, both in the same vein and in every increase or decrease. Of course, it is necessary to grasp the "great harmony" aspect of the common character of the book "Chi Yun", and the "small differences" among them can not be ignored, because of the different phenomena between the two versions. We can observe the evolution of the Middle Ancient Pronunciation in the Sui Tang and the five dynasties and the early Song Dynasty in order to develop people's understanding of the Middle Ancient phonetic system in time. This paper focuses on the three major problems of phonology, rhyme enhancement and rhyme order, and compares the similarities and differences between different books before and after the rhyme book, thus investigating the development and changes of Chinese pronunciation and its cognition in the Middle Ages. On the one hand, the rhyme book of "Chi Yun" has already completed the analysis and induction of the phonetic category in the phonetic system, and then gradually perceives and distinguishes the similarities and differences between the phonetic parts of the phonetic button and the distance between them. However, it is still far inferior to the rhyme and tone, which is closely related to the social and cultural customs of the times in which the rhyme books of "Chi Yun" are located. On the issue of rhyme enhancement, Wang Ren f's compilation of "periodical errors and lack of rhyme" added Yan Yun's department to the rhyme department on the basis of "cut rhyme", and went to the rhyme part of the second tone, not only to fill the gap, but to be strict with the middle ancient times. Where the phonetic differentiation of the two rhymes is revealed, the change of the relationship between the rhyme parts of "Guang Yun" and "Ji Yun", the diachronic development of Yan Fan's pronunciation and the differentiation of local pronunciation can be confirmed. In addition, Sun Li edited Tang Yun respectively from the three rhyme lines of truth, cold and song to distinguish 11 rhymes of Zhun, Huan and GE. Sun's distinction of these three groups is a disclosure of the difference between the main vowels of the three groups. The literature of the late Chinese rhyme books, the differentiation of vowels in modern Chinese dialects and the analysis of phonological deductions can provide evidence. On the question of rhyme order, the existence of rhyme cluster indicates the systematic understanding of middle ancient Chinese pronunciation by the editors of the rhyme book of "Chi Yun". The arrangement of rhyme parts follows the rules of similar phonetic clustering. The rhyme patterns of the rhyme books of the "Chi Yun" line can be summed up to the three kinds represented by "Wang San >, < Wang II > and" Guangyun ", respectively. Different rhyme levels reflect the different phonetic concepts and cognitive development of the editors of rhyme books, among which the particularity of entering the rhyme times is particularly prominent, and through combing the development course of the understanding of the matching of the four sounds in the Middle Ages, This paper presents a reflection on the nature of the entering sound in the middle ancient times and its position in the four-tone theory. In essence, the entering sound is a kind of vowel structure with a closed and unbroken consonant. The comparison of the three tones of the traditional four-tone theory and the level-up three tones actually straddles the category of vowel and tone.
【学位授予单位】：武汉大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：H113.1
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本文编号：1849860