INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
Total Page：16
File Type：pdf, Size：1020Kb
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North) Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 8907844 Tone and tone sandhi in Chinese Zhang, Zheng-sheng, Ph.D. The Ohio State University, 1988 • I U-M-I 300 N. Zeeb Rd. Ann Arbor, MI 48106 TONE AND TONE SANDHI IN CHINESE DISSERTATION Presented in Partial Fullfillment of the Requirement for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Zheng-sheng Zhang, B.A., M.A. ***** The Ohio State University 1988 Dissertation Committee: Approved by Mary E . Beckman Marjorie K.M. Chan Adviser Arnold M. Zwicky Department of Linguistics To My Family 1 1 ACKNOWLEDGMENTS I am indebted to Arnold M. Zwicky for his guidance both in the dissertation project and in my graduate education. His dedication to linguistics and linguistic education has been inspirational. His continuous encouragement is instrumental in bringing the present work to completion. I am grateful to other members of my dissertation committee, who have given me many valuable suggestions concerning the style and content of the present work. Mary E. Beckman has provided me with keen insights and is always willing to help. Marjorie K. M. Chan has given me generous support, both in supplying me with materials on Chinese linguistics and in devoting time to discussions and comments. To friends and family far and near, I am grateful for their moral support throughout the years of my graduate studies. Ill VITA July 1, 1956 ............... Born - Shenyang, China 1982 B.A. Foreign Languages, Beijing Teachers' College, Beijing, China 1985 M.A. Linguistics Department Ohio State University, Columbus, Ohio PUBLICATIONS Reduplication as a Type of Operation. 1987. Proceedings of the 23rd Chicago Linguistics Society Regional Meeting. Tianjin Tone Sandhi: Another Look. 1987. Journal of Chinese Linguistics. June. Conditional Sentences in Speech Act Theory.(with M.Geis) 1986 Proceedings of the Third Eastern States Conference on Linguistics. Language Files, (compiled with McManis&Stollenwerk). 1987. Advocate Publishing Company. Columbus, Ohio. Proceedings of the Second Eastern States Conference on Linguistics. (ESCOL 85) (edited with S.Choi et al.) Proceedings of the Third Eastern States Conference on Linguistics. (ESCOL 86) (edited with Marshall&Miller) FIELDS OF STUDY Tonal phonology. Morphology, Syntax, Pragmatics, Semantics IV TABLE OF CONTENTS DEDICATION.......... ii ACKNOWLEDGMENTS ........................................ iii VIT.A'................ iv CHAPTER I. INTRODUCTION..................................1 CHAPTER II. MANDARIN AS A SYLLABLE TONE LANGUAGE.........7 2.1. Mandarin tones ................................... 9 2.2. Unit of representation.......................... 11 2.2.1. Separability of two types of arguments........12 2.2.2. Arguments for independent tiers ............... 17 2.2.3. Arguments for domain of tones ................. 21 2.3. One-to-one correspondence in Mandarin ...........24 2.3.1. Contour tones in polysyllabic morphemes.......26 2.3.2. Against Exceptional Pre-linking............... 30 2.3.3. The absence of positive arguments .............32 2.4. Syllable as the domain of tones ................. 34 2.4.1. The proposal .................................. 34 2.4.2. Syllable tone and the O C P ..................... 37 2.4.3. Syllable tone and the power of the theory 39 2.5. The issue of monosyllabicity.................... 40 Notes to chapter II................................... 44 CHAPTER III. TONE SANDHI IN MANDARIN ................... 46 3.1. Morphological tonal changes ..................... 49 3.1.1. yi, qi, ba, bu ................................ 49 3.1.2. H tone in reduplication....................... 52 3.2. Purely metrically conditioned tonal ru l e s ........ 55 3.2.1. The Half Third Tone Rule ................. 58 3.2.2. The underlying form of the third to n e ..... 60 3.2.3. The Half Fourth Tone Rule ............ 64 3.3. The Second-to-First tone rule ............... ....66 3.3.1. Problems with the statement of the rule .......68 3.3.2. Stress patterns ......................... 70 3.3.3. Yip's statement of the rule ................... 72 3.3.4. Prosodic domains .............................. 78 3.3.4.1. Lenition and resyllabification..............78 3.3.4.2. Domains for the Third Tone Ru l e ........ 81 3.3.5. Restatement............. 83 3.4. The Third Tone Rule ............................. 83 3.4.1. The problem....... 83 3.4.2. The domain of Third Tone R u l e ................. 85 3.4.2.1. Linear versus hierarchical .................. 85 3.4.2.1.1. Cheng (1973) .............................. 85 3.4.2.1.2. The necessity of cyclic application........87 3.4.2.2. Syntactic versus prosodic ................... 90 3.4.2.2.1. Kaisse (1985) ............................. 90 3.4.2.2.2. Liu (1980) ................................ 91 3.4.2.2.3. Shih (1986) ............................... 91 3.4.2.2.4. The necessity of independent prosodic structures ................... 94 3.4.3. The Present Analysis .......................... 95 3.4.3.1. The relevance of pragmatics and discourse contexts...................... 96 3.4.3.2. Lexical foot formation..................... 106 3.4.3.3. Revised Foot Formation Rule ................ 109 3.4.3.4. The relevance of the Branch Condition......109 3.4.3.5. The necessity of reanalysis ................ 115 3.4.3.5.1. Conflict between DM and I C ...............115 3.4.3.5.2. Analysis of superfoot.................... 117 3.4.3.6. The role of prosody, morphosyntax and discourse ................. 119 Notes to chapter III ................................ 121 CHAPTER IV. DOMAIN OF TONES IN DANYANG ............... 123 4.1. Melodies in Danyang ............................ 124 4.1.1. Historical tonal categories ......... 124 4.1.2. Sensitivity to historical categories .........126 4.1.3. Danyang tones ................................ 127 4.1.3.1. Monosyllabic forms ......................... 127 4.1.3.2. Combination forms .......................... 129 4.1.4. Relationship between monosyllables and disyllables................. 130 4.1.5. Insufficiency of historical explanation......131 4.1.6. Restriction of melodies...................... 135 4.1.7. Present analysis ............................. 136 4.1.7.1. Inventory of melodies ...................... 137 4.1.7.2. Monosyllabicr^rms ........................ 137 4.2. Domain of tones in Danyang..................... 138 4.2.1. Phonological units as d o m a i n ................. 139 4.2.2. Prosodic structure in Danyang................ 141 4.2.2.1. Trisyllabic forms .......................... 142 4.2.2.2. Prosodic structures in names and transliterations .............. 148 402.2.3. Quadrisyllable forms ....................... 151 4.2.2.4. Stress patterns ............................ 157 4.2.3. Trisyllabic and quadrisyllable melodies..... 158 vi 4.2.3.1. The possibility of hierarchical structure ..158 4.2.4. Foot as the domain of melodies ...............161 4.3. Foot in Mandarin and Danyang ............... 162 4.4. The role of disyllables ........................ 164 Notes to chapter I V ................................. 167 CHAPTER V. WORD TONES IN SHANGHAI .................... 168 5.1. What is a word t o n e ............................ 169 5.1.1. Morpheme tones versus word tones ............. 169 5.1.2. Tone-bearing unit ............................ 171 5.1.3. Melody-counting ........................ 173 5.1.4. Citation tones as syllable tones ............. 174 5.1.5. Cyclic versus post-cyclic.................... 177 5.1.6. Word tones are lexical word melodies .........179 5.1.7. Some word tone languages ..................... 181 5.2. Word tones in Shanghai ......................... 182 5.2.1. Tones in Shanghai ............................ 183 5.2.1.1. Citation tones ............................. 183 5.2.1.2. Tones on longer forms ...................... 186 5.2.2. Tonal melodies in Shanghai polysyllabic