本文選題：《切韻》系韻書 + 認識��； 參考：《武漢大學》2016年博士論文

【摘要】：從隋代陸法言的《切韻》起到宋代官修的《廣韻》止,《切韻》系韻書經(jīng)歷了四百余年的時間,各種版本所反映的中古語音系統(tǒng)大同小異,既一脈相承,又每有增減調(diào)整,對《切韻》系韻書共性的“大同”方面固然需要把握,其中的“小異”亦不容忽視,藉著前后版本之間的不同現(xiàn)象,可以觀照隋唐五代宋初時期中古語音的演變以及時人對中古音系的認識的發(fā)展。本文從聲紐、增韻和韻次三大問題著眼,比較《切韻》系韻書前后各本的同異,從而考察中古時代的漢語語音及其認識的發(fā)展變化。在聲紐問題上,一方面《切韻》系韻書早已完成了對音系中的聲類的分析和歸納,繼而逐步感知區(qū)分出聲紐發(fā)音部位的同異和遠近,聲紐認識成績斐然,但相較而言仍遠遜于韻類和聲調(diào),這種認識的相對滯后性與《切韻》系韻書所處時代的社會文化風尚息息相關。在增韻問題上,王仁f+撰《刊謬補缺切韻》在《切韻》的分韻基礎上增添了嚴韻系的上、去二聲調(diào)上的韻部,并非只為填補空缺的畫蛇添足之舉,而是對中古時代嚴、凡兩韻系語音分化的揭示,《廣韻》和《集韻》的韻部同用關系之變化以及嚴凡語音的歷時發(fā)展和方音分化等方面均可得以印證。此外,孫儷編《唐韻》分別從真、寒、歌三個韻系中區(qū)分出諄、桓、戈三個韻系共11個韻部,孫氏區(qū)分這三組韻部乃是對它們之間主元音差異的披露,晚期《切韻》系韻書文獻、現(xiàn)代漢語方言的韻母分化以及音理演繹分析等資料均可提供證據(jù)。在韻次問題上,韻簇的存在表明《切韻》系韻書編者對中古漢語語音的系統(tǒng)化認識,其編排韻部是遵循語音相近類聚的規(guī)律進行的。《切韻》系韻書的韻次格局可以歸納出分別以《王三》、《王二》和《廣韻》為代表的三種,不同的韻次反映韻書編者不同的語音觀念和認識發(fā)展,其中以入聲韻次的特殊性尤為突顯,通過梳理中古四聲相配認識的發(fā)展歷程,引出對中古入聲的性質及其在四聲學說中的位置的反思：入聲本質上是一種帶有唯閉不破塞輔音韻尾的一種韻母結構形態(tài),傳統(tǒng)四聲說中入聲與平上去三個聲調(diào)相提并論其實是橫跨了韻母和聲調(diào)兩種范疇。
[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.
【學位授予單位】：武漢大學
【學位級別】：博士
【學位授予年份】：2016
【分類號】：H113.1
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本文編號：1849860