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Acknowledgements
Chapter 1 Introduction
1.1The Research Topic
1.2The Organization of the Paper
Chapter 2 The Previous Studies of the Tonal Deviations of Chinese Regulated Verse
2.1The Canonical Tonal patterns
2.2 The Traditional Analysis of Tonal Deviations
2.3The Reasoning of Tonal Deviations
2.3.1 Boyee (1980)
2.3.2 M.Y. Chen (1979,1980) and Duanmu (2000, 2004a, 2004b)
2.3.3Graham (1980)
2.4Discussion
2.5The Perspective of the Present Paper
Chapter 3 Theoretical Construct
3.1The Relation Between Chinese Regulated Verse and Music
3.1.1The Relation Between Classical Chinese Poetry and Music
3.1.2The Nature of Musicality in Chinese Language
3.1.3The Resemblances Between Chinese Regulated Verse and Music
3.2The Necessity of Tonal Deviations in Chinese Regulated Verse
3.2.1 The Nature of Regularity
3.2.2 The Necessity of Deviations
3.3The Rationality of the Positions of Tonal Deviations in Chinese Regulated Verse
3.3.1The Relation Between Positions of Deviations and Positions of Prominence
3.3.2The Rhythm of Chinese Regulated Verse
3.3.3 Other Influencing Forces
3.4 Summary
Chapter 4 Methodology
4.1 Research Questions
4.2 Research Design
4.3 Data Source
4.4 Research Procedures
4.5 The Coding of the Corpus
Chapter 5 The Study ofDu Fu's 40 Quatrains
5.1 The Design of the Study
5.2 The Description of the Deviations
5.2.1 The Frequency of the Deviations
5.2.2 The Positions of the Deviations
5.2.3The Patterns of Tonal Variations
5.2.4 A Discussion on the Theory of Compensation
5.2.5 Summary
5.3 The Present Analysis of the Deviations
5.3.1 The Deviations and the Positions of Prominence
5.3.2 The Deviations and the Rhythm of the Regulated Verse
5.3.3 The Deviations and the Non-phonological Factors
5.3.4 Summary
Chapter 6 Conclusion
6.1 The Summary of the Major Findings
6.2 The Significance of the Present Study
6.2.1 The Originality of the Present Study
6.2.2 The Implications of the Present Study
6.3 Limitations
Bibliography
Appendix
1.The List of the Title of the Quatrains
2.The Tonal Pattern of the Quatrains
3.The Deviations Marked in the Model Tonal Patterns
4.Positions of Deviations and Positions of Prominence
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