Abstract
本文主要是探討苗栗四縣客語的陰平變調現象。關於連讀變調，學者多採 用「直接指涉假設」(direct-reference-hypothesis)或「間接指涉假設 」(indirect-reference-hypothesis)的觀點來分析，本文即是從句法與 音韻的介面理論來探討陰平變調的運作範疇。在句法方面，我們主要就凱 斯(Kaisse,1985)的「範疇成分統制」(Domain-C-Command)來檢測句法成 分間的關係對陰平變調運作的影響，發現僅以句法關係仍不足以定義陰平 變調的運作範疇。關於韻律(prosodic)體系理論，我們採用席爾格 (Selkirk,1986)的「端界基準參數」(end-based-parameters)來觀察陰平 變調，我們提議苗栗客語中音韻片語是標記於非附加語最大投射的右側， 也發現陰平變調的運作範疇為語調片語，提出語調片語的形成原則與相關 的制約。我們也從蕭宇超(Hsiao,1991,1994)的「音板計數理論」(beat- counting-theory)來詮釋具有吟唱節奏的三字組與四字組陰平變調，並修 訂音板掃描(beat-scanning)的原則來說明不同的變調讀法。 The thesis investigates Yinping Tone Sandhi (YTS) in Miouli Hakka. Direct Reference Hypothesis and Indirect Reference Hypothesis are developed to examine Yinping Tone Sandhi Rule (YTSR) at the interface between syntax and phonology. In this research, we adopt Kaisse's (1985) Domain C-command to observe the direct syntactic influence upon phonology and find that the domain for Yinping Tone Sandhi cannot be defined by the relations between syntactic constituents. In addition, we discuss the application of Yinping Tone Sandhi Rule from the perspective of prosodic phonology. Based on Selkirk's (1984, 1986) End-based Parameters, we suggest that the phonological phrase in Hakka is marked at the right edge of a non-adjunct maximal projection. Our investigations show that YTS is better conditioned by the domain of intonational phrase (IP) and whereby we propose a formation rule of IP. Finally, we examine trisyllabic or quadrisyllabic Yinping Tone Sandhi under Hsiao's (1991,1994) Beat-counting Theory of foot formation, and revise the direction of beat scanning to account for alternative tonal readings.