本文選題：明代 + 《六十種曲》��； 參考：《蘇州大學(xué)》2012年博士論文

【摘要】：明代語音在漢語語音史上，特別是近代漢語語音史上有著重要的地位。研究明代漢語語音對(duì)于研究中古音到近代音演化，考察其與現(xiàn)代音之間的關(guān)系，分析現(xiàn)代漢語普通話的源流等都具有十分重要的意義。明代可資語音研究的材料非常豐富，有《洪武正韻》系韻書、《中原音韻》系韻書、音注材料、譯音對(duì)音，以及散見在筆記雜著中的一些有關(guān)當(dāng)時(shí)語音的材料。與這些材料相比，明代南曲的用韻具有獨(dú)特的價(jià)值：一、南曲用口語入韻，反映了明代口語的實(shí)際面貌；二、用韻的現(xiàn)象豐富，一些混押的情況反映了明代韻母的變化；三、南曲作品時(shí)間跨度大，韻段數(shù)量多，足以反映明代韻母系統(tǒng)的全貌。 由于南曲劇本篇幅甚長(zhǎng)，一部曲本從三十幾出到五十幾出不等，如果將研究范圍擴(kuò)大至全明傳奇一則在時(shí)間與精力上不允許，二則會(huì)因研究對(duì)象的龐雜而在討論上難以深入細(xì)致，所以我們?cè)诰C合考慮南曲曲本在當(dāng)時(shí)的影響，是否具有從俗與昆曲化的傾向之后，最終選擇明代汲古閣《六十種曲》為研究對(duì)象與范圍。 我們以北京中華書局1958年版《六十種曲》本作為研究底本，對(duì)其中所錄的1043個(gè)曲牌，16815個(gè)韻段進(jìn)行了窮盡式的考察和分析，得出以下主要結(jié)論： 1.《六十種曲》用韻可分為19部，與《中原音韻》的韻部格局相同，這與《中原音韻》作為南曲創(chuàng)作主要的檢韻書有密切的關(guān)系。其中陰聲韻9部：齊微部、支思部、魚模部、家麻部、蕭豪部、歌戈部、尤侯部、皆來部、車遮部；陽聲韻10部：先天部、寒山部、廉纖部、監(jiān)咸部、桓歡部、侵尋部、真文部、江陽部、庚青部、東鐘部。 從《六十種曲》的用韻，我們可以知道明代南曲用韻的主要特點(diǎn)有：支思、齊微、魚�；煅海桓韪�、家麻混押；齊微、皆來混押；庚青、真文、侵尋混押；先天、廉纖、寒山、桓歡、監(jiān)咸混押。[-m]尾韻尚未完全丟失其區(qū)別性特征，故單獨(dú)成部；入聲應(yīng)該還獨(dú)立，但是與相應(yīng)的陰聲韻關(guān)系密切。 2.《六十種曲》的用韻基本符合這19部系統(tǒng)，反映明代曲作家用共同語入韻。由于南曲作家以南方人為多，所以齊微、魚模的混押、真文與庚青的混押以及一些陰陽韻部混押的例子都反映了這些人的用韻受到其方言的影響。而非吳語區(qū)的作家，由于受北方語言的影響更多，通押情況就要少很多，用韻比較接近當(dāng)時(shí)的共同語。 3.從歷時(shí)上來看，明代兩百余年曲韻的變化不大，在南曲發(fā)展過程中，始終受到“存雅求正”思想的影響，追求戲曲作為韻文的格律化與戲曲作為文學(xué)的藝術(shù)性的兩種傾向貫穿南曲發(fā)展的全程。 本文在前賢研究的基礎(chǔ)上，取得了以下的一些創(chuàng)新成果或貢獻(xiàn)： 1.改進(jìn)了研究的方法，提出了戲曲韻文研究的韻例判定原則。內(nèi)外雙重證據(jù)相結(jié)合并以內(nèi)部證據(jù)為主的判定標(biāo)準(zhǔn)能最大限度地保留作品個(gè)性，從而使我們的研究結(jié)果更加真實(shí)。 2.采用了計(jì)算機(jī)輔助研究的方法和數(shù)理統(tǒng)計(jì)的方法，以幫助我們避免由于主觀認(rèn)識(shí)上的差異而造成結(jié)論的片面性。 3.對(duì)《六十種曲》的用韻進(jìn)行了窮盡式的考察，歸納曲韻為19部，，用分析數(shù)據(jù)證明了南曲用韻遵用《中原音韻》的事實(shí)。 4.從歷時(shí)的角度考察了明代兩百多年間的曲韻的變化，分析了影響南曲用韻的諸多因素。 5.以南曲用韻為切入點(diǎn)，探討了南曲用韻的參照系問題以及南曲用韻反映的明代共同語的情況。
[Abstract]:The speech in the Chinese pronunciation history, especially the history of modern Chinese phonetics has played an important role for the study of Chinese speech. The study of the Ming Dynasty in ancient and modern music evolution, examines its relationship with modern sound between the analysis of Mandarin origin is of great significance for the study of speech materials in Ming Dynasty. Very rich, there is "Hongwu rhyme rhyme > < > series, Zhongyuanyinyun series of books about the note, material, transliteration of the sound, and scattered in with some of the notes on current speech materials. Compared with these materials, Ming Nanqu rhyme has a unique value: a spoken Nanqu into rhyme. Reflect the actual spoken language of Ming Dynasty; two, the use of rhyme phenomenon is rich, and some mixed situation reflects the changes of the Ming Dynasty finals; three, southern work time span, rhyme segment number, enough to reflect the panorama of the Ming Dynasty rhyme mother system.
Because the South play space is very long, a song from the 30 to 50 out of range, if the scope of the study will be extended to the whole of the Ming legend in a time and energy is not allowed, two will be as the objects of study in complex and difficult to discuss deeply, so we are considering this song at the time -- the influence is popular tendency and the final choice of Kunqu Opera, Ming Ji Gu Ge < sixty > song as the research object and scope.
We in Beijing Zhonghua 1958 edition of < sixty > the koji as dibon, of which 1043 of the recorded tunes, 16815 rhymes were investigated and exhaustive analysis, we draw the following conclusions:
1.< sixty song > rhyme can be divided into 19 parts, with the same < > Zhongyuanyinyun rhyme pattern, and the < Zhongyuanyinyun > as the main creation books seized South have close relationship. The 9 part: Qi Yin rhyme micro department, Branch Ministry of fish mode of thinking, home linen Department Xiao Hao, GE and GE, you Hou, to all, car cover; Yang rhyme 10: birth, Han Shan Department, Ministry of Supervision Ministry of low-cost fiber, salty, Huan Huan department, Ministry of education really find the invasion, the Ministry of youth ministry, Jiangyang, Geng Dong, bell.
From "sixty kinds of music > rhyme, we can know the main features of the Ming Nanqu rhyme: a thought, Qi Wei, fish and mixed mode; GE and Ge, Jia Ma and mixed; Qi Wei, are mixed and green; Geng, really, for invasion of mixing charge; congenital, low fiber. Hanshan, Huan Huan, and.[-m] mixed supervision salty rhyme has not yet completely lost its distinctive features, so a separate department; tone should also be independent, but with the corresponding negative tones are closely related.
2.< sixty song > rhyme in line with the 19 system, the Ming Dynasty reflect the composer with common language rhyme. Because writers in the south for more than the south, so Qi Wei, mixed mode charge of fish, really the green "mixing charge and some Yin and Yang rhyme examples are mixed and reflect the influence these people rhyme by its dialect. Instead of Wu area, due to the more northern language, and through the situation will be much less, the rhyme is closer to the common language of the time.
3. from the diachronic point of view, little change in the Ming Dynasty more than two hundred years of Qu Yun, in southern development process, has always been affected by the "save ya qiuzheng" thinking, the pursuit of drama as a metrical verse and drama as the two tendencies of art of literature of the southern throughout development.
In this paper, based on the previous studies, we have achieved the following some innovative achievements or contributions:
1. improved methods of research, research on the verse drama rhyme cases presented to decide principle. The combination of internal and external evidence criteria to internal evidence as to maximize the retention of works of personality, so as to make our results more realistic.
2. by using the method of computer aided research method and mathematical statistics, to help us avoid one sidedness due to differences in the subjective understanding of the resulting conclusions.
3. of the sixty song < > rhyme were investigated exhaustively, summarized Qu Yun was 19, with the analysis of data to prove compliance with the rhyme of < > Zhongyuanyinyun. In Southern
4. from the diachronic perspective of the change of the Ming Dynasty more than 200 years Qu Yun, analyzes the factors influencing the rhyme with Nanqu.
5. to southern rhyme as the starting point, discusses the use of rhyme reference and rhyme of the Ming Dynasty reflect the southern common language of South.

【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：H114

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 任淑寧;明刊徽池雅調(diào)散出選本用韻研究[D];山西師范大學(xué);2014年

相關(guān)碩士學(xué)位論文 前1條

1 楊鵬遠(yuǎn);明代傳奇鋪敘現(xiàn)象研究[D];集美大學(xué);2014年

本文編號(hào)：1743513