本文選題：吳語 + 濁音聲母��； 參考：《方言》2017年03期

【摘要】：本文利用已有的吳語材料,從音系學的角度討論吳語濁音聲母與聲調的關系,梳理出吳語清濁聲母和陰陽調關系的四種類型。旨在說明:對于太湖片、臺州片和甌江片吳語來說,聲母的清濁具有獨立的音系學地位;江山方言的濁音與送氣清音可以自由變讀;宣州片銅涇小片讀為擦音或近音。個別吳語不遵循單字調陰高陽低的原則,說明濁聲母或許早已清化。盡管大多數(shù)吳語保留了"塞音三分"的重要特征,但也反映出了吳語內部的多樣性。
[Abstract]:In this paper, from the perspective of phonology, this paper discusses the relationship between the vowel consonants and the tones of the Wu dialect, and sorts out four types of the relations between the turbid consonants and the yin and yang tones in the Qing Dynasty.For Taihu, Taizhou and Oujiang films, the pure turbidity of the consonant has an independent phonological status; the turbid and breathed clear sounds of Jiangshan dialect can be read freely; the Tongjing patch of Xuanzhou film is read as erasure or near tone.Individual Wu language does not follow the principle of single word regulating yin and high yang, indicating that turbid consonants may have already been purged.Although most Wu languages retain the important feature of the syllable, it also reflects the internal diversity of Wu dialect.
【作者單位】： 復旦大學中文系;
【基金】：國家社會科學基金一般項目“上海方音演變的社會語言學研究”(項目號:11BYY032)的階段性成果
【分類號】：H173
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本文編號：1758549