本文選題：宋代 + 音釋��； 參考：《廣西師范大學(xué)》2013年碩士論文

【摘要】：在我國(guó)歷代的古籍中,音釋資料都大量存在著,這也成為音韻學(xué)上研究古代語(yǔ)音的重要材料之一。而宋代作為漢語(yǔ)語(yǔ)音發(fā)展史上的重要時(shí)期,宋音的研究也尤為重要。但是綜觀前人的研究成果,宋人韻書(shū)韻圖的研究和宋人詞韻的研究都取得了很大的成就,相對(duì)而言,在對(duì)宋代音釋資料的系統(tǒng)研究上還不全面,從而不能更加充分合理的展現(xiàn)宋代歷史語(yǔ)音面貌。本文共選取《紹興重雕大藏音》《柳河?xùn)|集》《別本韓文考異》《胡氏春秋傳》《律文音義》《太玄經(jīng)釋文》6本書(shū)籍中所收錄的宋人音釋資料,通過(guò)與《廣韻》(《廣韻》未收入的,選擇《集韻》)的切音進(jìn)行比較,對(duì)其中能夠反映宋代語(yǔ)音特點(diǎn)的音注材料進(jìn)行分析,從而揭示出宋代語(yǔ)音面貌及其發(fā)展的一些規(guī)律。 論文共分為四章。第一章,緒論。簡(jiǎn)述對(duì)宋代音注材料進(jìn)行研究的概況和意義,論文材料來(lái)源,如何處理音注材料以及在處理材料過(guò)程中應(yīng)該注意的問(wèn)題。第二章,對(duì)6家音注材料進(jìn)行整理�？焙�,從聲韻調(diào)三個(gè)方面分別對(duì)6家音注材料進(jìn)行橫向的描寫(xiě),判斷其間反映的語(yǔ)音現(xiàn)象和音變現(xiàn)象,歸納各家音釋的語(yǔ)音特點(diǎn)。第三章,對(duì)6家音注材料進(jìn)行系統(tǒng)的比對(duì),各家都有一些重要的語(yǔ)音特點(diǎn),結(jié)合宋之前的語(yǔ)音研究成果,通過(guò)縱向比較,我們發(fā)現(xiàn)6家音注材料有以下特點(diǎn)：第一,收錄的音切主要有三類,一是當(dāng)時(shí)比較有影響的韻書(shū)(如《廣韻》、《集韻》)、字書(shū)(如《說(shuō)文》、《玉篇》)的音切。各家音釋中,這類音切占絕大多數(shù)。二是依據(jù)當(dāng)時(shí)通語(yǔ)音而定的音切。這類音切在各家音釋中均有相當(dāng)數(shù)量,說(shuō)明宋時(shí)通語(yǔ)語(yǔ)音對(duì)宋人音釋亦有重要影響。三是依據(jù)諸家方音而定的音切,這類音切在各家音釋中比較少見(jiàn)。第二,六家音釋各自所反映的通語(yǔ)音面貌大體一致：①聲類上：全濁聲母清化已經(jīng)具有很強(qiáng)的系統(tǒng)性；輕重唇分化和舌音的分化基本完成；知、章、莊三組聲母合流；精組與知莊章部分合流；影、以、云三母合流等等。②韻類上：同攝內(nèi)部各韻大量合并,止攝、遇攝、效攝、流攝、通攝五攝內(nèi)部各韻合并現(xiàn)象非常普遍；蟹攝、臻攝、山攝、梗攝、咸攝五攝內(nèi)部各韻因洪細(xì)不同而分為兩類。不同韻攝之間也有合流現(xiàn)象,止蟹兩攝混切,曾梗兩攝混切,咸山入聲也已合并。六家音釋在韻類上大量簡(jiǎn)化。③在聲調(diào)上,全濁上聲變?nèi)ヂ暚F(xiàn)象已經(jīng)出現(xiàn)。 第四章,結(jié)語(yǔ)�？偨Y(jié)了論文研究的基本情況以及論文研究?jī)r(jià)值。通過(guò)論文的寫(xiě)作,提出本人進(jìn)行下一步研究的看法。本文立足于材料,用事實(shí)說(shuō)話,從橫向和縱向兩個(gè)方面進(jìn)行比較,充分發(fā)揮音釋材料在宋代語(yǔ)音研究中的作用。
[Abstract]:In the ancient books of our country, there are a lot of phonetic interpretation materials, which has become one of the important materials in phonology to study ancient phonology. The Song Dynasty, as an important period in the history of Chinese phonological development, the study of Song tone is particularly important. However, looking at the previous research results, the research on the rhyme map of Song people's rhyme books and the study of Song's ci rhyme have made great achievements. Relatively speaking, the systematic research on the phonetic interpretation data of Song Dynasty is not comprehensive. In order to more fully and reasonably show the history of the Song Dynasty voice outlook. In this paper, the author selects six books, "Shaoxing heavy Diao Da Zang Yin", "Liu he Dong Ji", "other Korean characters", "Hushi Spring and Autumn Biography", "Lu Wen Phonology and meaning", "Taixuan Sutra interpretation" 6 books collected in this paper, through the collection of "Guangyun" ("Guangyun") ("Guangyun"), The phonetic materials which can reflect the phonetic characteristics of the Song Dynasty are analyzed, and the phonetic features of the Song Dynasty and some rules of its development are revealed. The thesis is divided into four chapters. Chapter one, introduction. This paper briefly describes the general situation and significance of the research on the phonetic injection materials in Song Dynasty, the source of the paper materials, how to deal with the phonetic injection materials and the problems that should be paid attention to in the process of processing the materials. In the second chapter, after collating and collating the six phonetic notes, the author describes the six phonetic materials from three aspects, judges the phonetic phenomenon and the phonological change, and sums up the phonetic characteristics of each phonetic interpretation. In the third chapter, we compare the six phonetic materials systematically, each of them has some important phonetic characteristics. Combined with the achievements of phonological research before Song Dynasty, we find that the six phonetic materials have the following characteristics: first, There are three kinds of notes included, one is the sound cutting of the more influential rhyme books at that time (such as "Guangyun", "Ji Yun > Li", and "character Book" (such as "Shuo Wen", "Yu Chapter"). In the various phonetic interpretation, this kind of sound cut accounts for the overwhelming majority. The second is based on the sound of the voice at that time. This kind of pronunciation has a considerable number in each phonetic interpretation, which indicates that Song Shitong pronunciation also has an important influence on the Song people's phonetic interpretation. The third is based on the tone cut of the local sound, which is relatively rare in the various phonetic interpretation. Second, the phonetic features of each of the six phonetic interpretations are roughly the same as those of the first one: the total turbid consonant has been highly systematic, the differentiation of light and heavy lips and tongue sounds has been basically completed, the confluence of the three groups of consonants is known, zangzhang and Zhuangzhuang; The combination of the refined group and the Zhizhuang Zhang; Shadow, and so on in the category of 2. 2 rhymes: a large number of the rhymes in the same photo, stop, meet, effect, flow, and take a picture of the five pictures of the master are very common; the crab, the master, the mountain, and so on; the crab, the master, the mountain, and so on. The internal rhymes of the five shots are divided into two categories because of their different characteristics. There is also a convergence between the different rhyme photography, the crab two mixed cut, Teng Teri two mixed cut, the saltwater into the sound has also been amalgamated. In the rhyme category, the six phonetic interpretations simplify a large number of 3. 3 in tone, and the phenomenon of total turbid and desonant has already appeared. Chapter four, conclusion. The basic situation and research value of the thesis are summarized. Through the writing of the paper, I put forward my views on the next research. This paper is based on the material, uses the fact to speak, carries on the comparison from the horizontal and the longitudinal two aspects, fully exerts the phonetic material in the Song Dynasty phonetic research function.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：H113

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