變調錯誤對語言表現模型的啟示

在第一章文獻回顧時提到Chen（1999）提出華語的構音模型，以三聲變調為例，變 調發生的階段是在語音發音之前。同樣的，蔡素娟（2002）的文章以實驗數據論證台語 的變調產生於詞彙後（post-lexical）階段。⁴⁴在台語變調錯誤的例子裡，的確發現有語音層 面（phonetic level）的錯誤，更重要的，本研究亦發現有例子支持超音段變調的行為和音 段構音同階段完成。

另外，我們還可以根據 Garrett（1984）提出的語言產生模型作一比對。這個模型將 說話歷程作一詮釋，而 Chen（1999）的模型著重於構音歷程。本研究僅對變調階段提出 假設，因此，以Chen（1999）的模型為參考座標。

圖 六 Garrett 構詞、構音模型

Inferertial processes

{Message representation}

Lexical selection

Lexical assignment Determination of

Functional structures {Functional level representation}

Retrieval of word forms

And lexical insertion Selection of positional Level planning frames

Phonological processes:

Assignment of phonetic form

{Positional level representation}

44 蔡素娟（2002）進行一系列的構音實驗，以聲學分析的數據，即某一字音在單字調位置的基頻和在連讀

調位置的基頻差異未達顯著，證實閩南語變調的確是「範疇間」（categorical or between categories）的聲調 轉換。

觀察下面這個例子能推論得知，如果變調是在詞彙後發生，那麼原來的音節在換位 後，會得到（80a）這樣的形式，然而，實際得到的是（80b）這個形式。

(80) i33 ko33 t’o13 鸚鵡桃

a.*i33 t’o33 ko55 或 *i t’o13 ko55 b. i33 t’o33 ko13

sin33 sim33 bun13 tsiu33 k'an55 新新聞週刊

a.*sin33 sim33 tsiu33 bun13 或 *sin33 sim33 tsiu55 bun13 b. sin33 sin33 tsiu13 tsiu33 k'an55

因此，本文認為變調的行為和音段構音是相同階段、互為平行的，例八十一是一個 簡單的圖示。當詞彙語意形成後，句法層次也隨之決定，然後進到構詞階段，此時音段 和超音段（連讀調）同時形成，等待連接到預設的音韻骨架。所有的音節結構已產生，

等待連結。在音段化最後一個語音產出階段前，任何型態的錯誤都有可能產生（如第四、

五章所述），因此，在這個階段會產生移除連結，再重新連結。（虛線代表移除連結）

(81)

Morphological Spellout {新新聞週刊}

Character Spellout [新新聞] [週刊]

Tone Sandhi [sin33 sin33 bun

○

13 ] [ tsiu33 k'an55]

Tone Spellout 33 33 13 33 55 Segment Spellout sin sin bun tsiu k'an To Articulator I: [sin33 sin33 bun13] [tsiu33 k'an55]

Articulation E: [sin33 sin33 tsiu

○

¹³

在這一章裡，本文從超音段與音段的關係談到台語聲調在音節結構的地位。從聲調 錯誤所提供的三方面證據支持台語錯誤聲調是屬於自主音段，並且以 X 骨架架構成功解

釋所有的錯誤類型結構。第二節利用同化現象討論台語中平調的底層結構，絕大多數的 語料傾向支持中平調是低音域裡的高調[L, h]；而中平調在聲調系統中的特殊變調行為或 許是源自發音機制，在一般自然口語語流中，常常會有聲調協同發音的現象，這使得位 居高調與低調之間的中平調在音韻環境中保持不變，以利前後聲調的轉折。台語變調錯 誤驗證了變調的心理真實性，而現有的語料偏向支持衍生變調假說，最後這個例子等於 是總結以上這些議題所引申的概念。

第 六 章 結 論 與 展 望

如同所有的語言材料一樣，每一次口誤的產生都像是一小小片的磁磚或一小小片的 拼圖，當拼圖的量愈來愈充足，凝聚成一小塊圖案時，方能對語言的本質有粗淺的了解。

西方學者長足於口誤材料已久，在華語方面的口誤材料也在近十餘年逐漸成形，過去文 獻對台語的口誤研究不能說是絕無僅有，與華語口誤研究相較，的確是罕見。本文嘗試 收集分析台語聲調錯誤，就是這些聲調錯誤展現出說話時的心理機制，使得這篇文章得 以成形。

本文主要觀察台語聲調錯誤的現象，並針對聲調錯誤提出宏觀與微觀蘊涵與初步解 釋。文章裡主要有二大部份，前半部是語料呈現與討論，後半部則是討論語料對相關的 音韻議題的啟示，希望這兩部份的連結突顯音韻分析和語誤的密切關聯。針對語料庫，

本研究有如下的發現：（一）語境中的錯誤高於非關語境的錯誤；（二）同化現象超出 異化現象；（三）超音段與音段相同，具有方向性；（四）變調錯誤支持變調的心理真 實性；（五）錯誤聲調傾向以平調代替曲折調；（六）高調伴隨焦點詞出現。

根據Chen（2000）的分析，廈門變調規律主要是以音韻範疇來運作，最大投射組的 右緣為音韻範疇的界限，而且最大投射組不得為補語。另外，修飾句子的副詞會阻礙變 調範疇，使得副詞右緣維持本調，而修飾動詞的副詞則不會。在讀詩詞或是念數字時，

韻律節奏蓋過有關音韻範疇的規則。這些規律都影響著說話者在腦中如何規劃變調範 疇，而導致實際發生的聲調錯誤。

此外，如果某音節與目標聲調接近，容易產生同化錯誤，尤以平調（相對於曲折調）

容易成為來源聲調，受韻律節奏效應影響，以逆向同化高於順向同化。焦點詞（多數帶 高調）容易引發變調錯誤。從聲調錯誤所提供的證據支持臺閩語聲調是一自主音段

（autosegment）。同化現象傾向論證中平調在底層結構是低音域裡的高調 [L, h]。而中平 調在聲調系統中的特殊變調行為或許源於發音機制，一般自然口語常見聲調協同發音

（co-articulation），使得位居高調與低調之間的中平調在音韻環境中保持不變，以利前後 聲調的轉折。台語變調錯誤驗證了變調的心理真實性，而現有的語料傾向支持衍生變調 假說（derivational approach）。

對於語料庫語料數量，我們必須承認某些錯誤類別（如聲調互換、聲調增生、聲調 融合等）語料過少，有時而窮，使得一些有趣的議題必須延至未來再討論；目前僅就收

集到的語料，作平實的分析，目的希望透過對台語口誤的整理與分析為音韻學理增添一 些趣味。本論文後續研究將針對高調與重音之間的關聯、台語曲折調的底層形式及變調 的心理真實性等議題探討。如前文所述，說話者是否運用高調突顯句中焦點詞的問題，

可以透過語音測量予以檢視。諸多文獻深入探討華語曲折調的描寫（e.g. Woo 1969、

Duanmu 1990 及 Wan 1999），本研究將以語誤材料檢視台語曲折調的描寫為單一整體抑 或一連串的平調組合。對於台語變調的心理真實性尚有對談的空間，期待以更多的語料 呈現更完整的論述。最後，實驗誘發語誤結果能夠作為佐證支持自然口語語誤之相關發 現。

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在文檔中 台語聲調錯誤研究 (頁 98-115)