【作者】 戴忠沛；

【导师】 聂鸿音；

【作者基本信息】 中国社会科学院研究生院 ， 专门史， 2008， 博士

【摘要】 西夏语是较早有文字形式的四种汉藏语之一,研究西夏语的语音系统能促进汉藏语系历史语言学的发展。然而西夏语已经消亡,西夏文本身又是一种非拼音的方块文字,这使西夏语音的构拟不得不依靠各种外部和内部材料。在存世的黑水城文献里,有30份附有藏文注音的西夏文残片,是构拟西夏语音系统的重要参考材料。残片内的藏文注音同时能反映12世纪的藏语语音面貌。过去学界对这些残片所知不多,此前唯一系统性的整理成果是聂历山(H.A.Невский)于1926年依据7份残片的藏文注音编成的索引。本论文以20件分藏于俄国和英国附有藏文注音的西夏文残片为研究对象,首先整理残片的西夏文和藏文注音内容,编成索引。然后本论文将藏文注音依基字、前加字、上加字、下加字、后加字和元音符号顺序,将藏文注音与所注西夏字的声韵类属及对应证的汉字注音、梵文注音作系统之间的比较,分析藏文注音各部份的表音功能,同时指出西夏文残片藏文注音所反映的12世纪藏语音系特征。最后本论文将藏文注音按照西夏语的声类反切连锁及综合韵排列,检视前人的西夏语拟音,并提出修正的意见。在整理残片内容的过程中,本论文依残片出处、西夏文内容的格式及藏文注音的字体,将残片的藏文注音分为6类,分别命名为A类至F类笔迹。本论文首次论证了不同笔迹的藏文注音风格不尽一致,并指出藏文注音规则中的一些歧异现象,是因不同笔迹的注音习惯有分别所致,这种情况在前加字的运用方面尤其明显。同时,本论文对残片西夏文内容的出处作出初步考证,指出A类笔迹的残片应该是一种与摩利支天母有关的藏传佛教经典,B类和C类笔迹的残片应该与藏传佛教金刚乘的成就法鬘真言(Sadhanamala mantra)有关,而D类笔迹的残片可能是一种与金刚瑜祗母有关的要门。在分析藏文注音各部份表音功能的过程中,本论文指出藏文注音各基字的发音尚保持原始藏语的而貌,原浊塞音及浊塞擦音的基字没有清化。而前加字的分析则为聂鸿音(1986)及荒川慎太郎(1999)的发现提供了补证。藏文注音里的前加字g和d呈互补分布,在鼻音基字之前能标示声调的改变。前加字b能用来记录西夏语的圆唇元音或介音,下加字w同样能记录西夏语的圆唇元音或介音,但几乎只在A类笔迹出现。本论文认为藏文注音反映的藏语语音处于原始藏语往近代康方言过渡的中介阶段,当时声调已经出现,前加字g和d等已经弱化,在鼻音基字前完全脱落,只留下区别声调的功能,而在其他基字前尚保留微弱的喉塞音,因此能与基字相拼记录不同的声母。前加字b表示的圆唇音由声母前置变成与共时的声母伴随特征,反映了前加字表音功能消失前的最后阶段。本论文透过藏文注音检视前人的西夏语音构拟方案,指出西夏语来日音类应有l-和ld-两个声母,前人构拟里将它们合拼成一个声母,并不恰当。另外,本论文指出藏文浊塞音和浊塞擦音的基字都十分有规律地带有前加字,显示西夏语的浊塞音及浊塞擦音声母并非纯粹的浊音,而应带有前置辅音。本论文认为这种前置辅音应该是弱化的鼻音或喉塞音。最后,本论文将残片的内容整理成夏藏对音的索引,共收西夏字524个,并详列了每一个西夏字所属的声韵调类,及对应的汉文注音、藏文注音和梵文注音,为学界提供至目前为止最详尽的夏藏对音整理成果。更多还原

【Abstract】 The research of Tangut phonology is valuable in the historical linguistic study of Sino-Tibetan languages, as Tangut is one of the four Sino-Tibetan languages in the early stage of history which possesses a writing system. However, the reconstruction of Tangut phonology has to rely heavily on various internal and external materials, due to the fact that the Tangut language is already extinct, and the Tangut writing system is a non-phonological character one. Among the Khara-Khoto manuscripts, there are about30Tangut fragments with phonological transcription in the Tibetan script, which provide important information towards the reconstruction of Tangut phonology. Besides, the Tibetan transcription itself also reflects the phonological features of the Tibetan language in the12th century. These fragments are little known by previous scholars. The only systematic study of them was a manual, based on the Tibetan transcription of7fragments, edited by N. A. Nevsky in1926.This thesis investigates20Tangut fragments with phonological transcription in Tibetan which have been preserved in the Russian and British collections. First all Tangut characters and their Tibetan transcription are identified, followed by a rearrangement of them in the form of a manual. After that the phonological representation of Tibetan transcription is to be studied by a systematic comparison between Chinese transcriptions, Sanskrit transcriptions and the basic scripts, prescripts, superscripts, subscripts, postscripts and vowel symbols of Tibetan transcriptions. Such a comparison will give light to the phonological features of the Tibetan language in the12th century. Finally the Tibetan transcription will be arranged by initial and rhyme categories of their corresponding Tangut characters. It contributes to the examination of the previous reconstruction schemes of Tangut phonology. Several suggestions are made on the modification of the reconstruction scheme.This thesis classifies the Tibetan transcriptions into six types of handwriting, according to the origin of fragments, the content of fragments, and the writing style of Tibetan transcriptions. These handwritings are labeled from A to F. It demonstrates that, for the first time, the practice of transcription varied among different handwritings. It also points out that the inconsistency of transcription formats noticed by previous scholars are in fact due to different transcription practices among different handwritings, as manifested in the use of prescripts. Apart from that, this thesis gives a preliminary study on the content of the fragments. It is suggested that fragments of handwriting A should be a Tibetan Buddhism sloka on Marici, while fragments of handwriting B and C should be related to the Sadhanamala mantra of Vajaryanist Tibetan Buddhism. Fragments of handwriting D should be a kind of man ngag.In the analysis of phonological representation of the Tibetan transcription, it is found that the sound value of basic scripts remained the feature of Old Tibetan, that the voiced obstructs have not yet devoiced. The examination on prescripts gives further evidence to the observation made by Nie (1986) and Anakawa (1999). When prescripts g and d are combined with nasal basic scripts, they can change the syllable tone to the one corresponding to the level tone in Tangut. In the Tibetan transcription the prescript b marks the roundness of the syllable. Subscript w basically only appears in handwriting A, which also marks the roundness of the syllable. The phonological features as reflected by the Tibetan transcription suggest that the language of transcribers was a dialect in the stage between the Old Tibetan and the modern Kham dialect. Tones had already appeared, while the pronunciation of prescripts g and d had been weakened. Their sound values had lost when preceding nasal initials, leaving behind the function of distinguishing tones. However the feature was still preserved as a weak glottal stop in front of other consonants, as a result the corresponding parts can change the sound value of many non-nasal basic scripts to mark special consonants in Tangut. The sound of prescript b had shifted from a pre-initial to a co-articulated position, which marked the final stage before its disappearance.By examining previous reconstruction schemes of Tangut phonology, it is evident from the Tibetan transcription that an Id-initial should be separated from the I-initial. Besides it points out that there are regular use of prescripts in front of voiced obstruents, suggesting that there should be a pre-initial consonant, which is probably a weak nasal or glottal sound.Lastly, this thesis edited all the Tibetan transcriptions with Tangut characters into a manual, which included524Tangut characters in total. The manual also provides the information of initial and rhyme category of each Tangut character, together with their corresponding transcriptions in Tibetan, Chinese and Sanskrit. This manual provides the most detailed information ever on the Tibetan transcription of Tangut characters.更多还原