福佬人论略(上)

在我国汉族南方诸族群中的“福佬人”,其“福佬”的名称系由历史上的“福建夷獠”转化而来。六朝永嘉之乱、侯景丧乱,使大批中原难民辗转流入福建和广东东北部地区,开了蛮汉交流的先河;唐初闽南粤东地区发生的“陈元光平蛮”,促进了福佬先民的酝酿;隋唐时期泉州“市井十洲人”的出现,及由泉州土著与中原江淮移民两种语言融汇而成的泉州方言的基本形成,则意识着福佬族群已基本孕育成熟。     

岳阳方言的代词

揭示岳阳方言代词的系统,对岳阳方言中人称代词复数表示法与表领属的关系、反身称代的成因,作出分析;对指示代词的两大系统和疑问代词的语法分布作出平面描写,可以为岳阳方言代词历史成因的研究打下基础.     

/r/ and the construction of place identity on New York City's Lower East Side1

This paper argues that a group of white residents on the Lower East Side of Manhattan use a New York City English (NYCE) feature – non‐rhoticity in the syllable coda – in the construction of a place identity, one aspect of identity tied to localness and authenticity. A quantitative analysis confirms that the change in progress towards rhoticity in NYCE ( Labov 1966 ) continues to advance slowly, so that non‐rhoticity remains a resource for New Yorkers, imbued with local social meaning. Ethnographic observation of the Lower East Side reveals conflict among residents, which motivates one group to highlight their place identity by using non‐rhoticity. These Lower East Siders utilize micro‐variation of /r/ in stretches of interview talk, increasing non‐rhoticity when discussing neighborhood topics. Results support a social practice approach to stylistic and sociolinguistic variation, where Lower East Siders use /r/ in constructing a place identity in order to present themselves as authentic neighborhood residents.     

固始方言词汇的重叠构形初探

本文讨论了固始方言与普通话在重叠构形有所不同的形容词、动词和量词的重叠形式;重点讨论了动词每种重叠构形的语法意义;还讨论了固始方言和普通话即使在某些构形上相同,但语法意义却不尽相同。     

从重庆方言俚俗语看俚俗语与地方文化

俚俗语与地方文化密切相关,既是地方文化的反映,同时又使地方文化得以传承。本文主要以重庆方言俚俗语为例,从方言文化、地理文化、人文文化三方面论述了俚俗语与地方文化的关系。     

Code eclecticism: Linguistic variation and code alternation in the chat language of Flemish teenagers1

This paper deals with written chat language produced by West‐Flemish teenagers. By analyzing some exemplary data in a quantitative and a qualitative way, it is demonstrated that the chatspeak of the adolescents reflects the wide range of varieties which belong to the verbal repertoire of the youngest generation. The teenagers generally create a ‘regional style’ but do not aim at rendering local dialect speech faithfully. The medium appears to offer the teenagers an opportunity to appropriate (written) Dutch and transform it into a multilayered heterogeneous variety by combining several varieties of Dutch in a very eclectic way. Finally, it is argued that the findings question the polarized view of Dutch in Flanders that has been prominent in the public debate both amongst linguists and non‐linguists in the past decades. Dit artikel doet verslag van onderzoek naar de geschreven chattaal van West‐Vlaamse tieners. Kwantitatieve en kwalitatieve data‐analyses tonen dat de ‘chatspeak’ van de adolescenten een afspiegeling biedt van het hele scala aan variëteiten die tot het linguïstische repertoire van de jongste generatie behoren. De tieners creëren een soort ‘regionale stijl’, maar zij beogen geen accurate weergave van (hun) dialect. Het chatmedium biedt hen de mogelijkheid om zich het (geschreven) Nederlands toe te eigenen en het te transformeren in een gelaagde en heterogene variëteit door een heel eclectische combinatie van verschillende variëteiten. Vanuit deze bevindingen worden er vragen gesteld bij de gepolariseerde visie die de jongste decennia het publieke debat rond het Nederlands in Vlaanderen gedomineerd heeft.     

邛崃方言亲属称谓“叔舅姑姨”研究

推普以来,邛崃方言的“叔舅姑姨”被同化明显,50—8岁村民的具体表达中,年龄越小越与普通话趋同．但“女性称谓男性化”、“男性称谓女性化”这类角色互换现象仍是其鲜明的地方特色。在强势推普及国家计生政策的大背景下．20世纪70年代独生子女的后代成为“叔舅姑姨”萎缩的生发口,这类堂表称谓词在他们口中越来越少．“叔舅姑姨”的生存空间也越来越小,通过保护方言来保护“叔舅姑姨”的生存是一条实际可行的途径。     

四川方言中"不存在"的语用意义

通过对四川方言中“不存在”一词的分析和探讨,文章分析了“不存在”在四川方言与在普通话使用中意义上的异同,解释了“不存在”的语用意义。进而,文章从语言文化的角度,探究“不存在”在四川方言中使用特殊的原因,揭示其语源,把握其演变规律和发展方向。     

针对母语方言的英语语音偏误分析

国内英语语音教学大多根据标准语(社会母语)--普通话设计教学,而实际语音教学中许多偏误原因则来自学生的母语方言(自然母语).本文从英语语音教学中常见偏误的分析入手,指出英语语音教学中的许多偏误均与学生母语方言相关.因而,只有针对学生母方言背景的分析,才能为英语语音教学设计找到一条有效的途径.     

话语改造与方言出场——现代湘籍作家方言写作形式论

现代湘籍作家大量运用方言土语进行文学创作,其话语改造及文本出场方式主要有三种:一是方言话语的原生态直接出场,独特的地域声音、别样的方言词汇和古朴的方言语法在文本中登场亮相;二是方言话语的间接性再现,有注释、加引号以及同义复现等多种出场方式;三是方言话语本身成为文本的表现对象。这些方式实现了方言话语的文本审美化再现,是现代湘籍作家在方言写作形式上的开拓和贡献。