“律吕”与语言的结构——基于《黄锺通韵》的认知解构  

"Lvlv" and the Structure of Language——Cognitive Deconstruction Based on Huangzhong Tongyun

作　　者：王为民[1] 范晓琴[2] 

机构地区：[1]山西大学语言科学研究所,山西太原030006 [2]山西大学文学院,山西太原030006

出　　处：《黄河科技大学学报》2013年第2期96-101,共6页Journal of Huanghe S&T University

基　　金：国家哲学社会科学基金规划项目<满汉文献对比与清代北京语音史研究>(10CYY038)

摘　　要：明清以来出现了不少从音律角度研究等韵的著作,历来治等韵者皆认为其中的律吕成分皆无稽之谈、穿凿附会之作,无甚深义。然通过详细分析发现,以往学者之所以有这种观点是未能正确理解"律吕"的真实内涵所致。"大阴阳"十二律是《黄锺通韵》韵图构造的基本原理,都四德在18世纪中期基于满语元音的阴阳之分利用律吕阴阳二元思维对北京话音韵结构的分析与现代学者在20世纪中期利用音位学方法对北京话音韵结构的分析颇为接近。《黄锺通韵》利用律吕之学研究等韵,并非是无稽之谈,其实大有深意。Quite a few works have appeared on the study of phonology from the angle of rhythm since Ming and Qing Dynasty. The scholars who study phonology always consider the component of Lvlv in it to be statement and distorted conclusion without any sound meaning. Yet after detailed analysis on it, it is previous scholars who held this view didn＇t correctly understand the true connotation of ＂Lvlv＂. Big ＂Yin and Yang＂ is the basic principle for the construction of rhythm map in Huangzhong Tongyun just groundless discovered that Twelve Law of Using dualistic thinking of Lvlv and Yinyang, which is based on the division of Yin and Yang of vowels in manchu language, Du Side＇s analysis on the phonologic structure of Beijing Dialogue is quite similar to the analysis on the phonologic structure of Beijing Dialogue made by modern scholars in the middle of 20th century using the method of phonetics. The Study of phonology using Lvlv in Huangzhong Tongyun is really full of deep meaning instead of groundless statement.

关 键 词：《黄锺通韵》 “大阴阳”十二律 韵图形制 音韵结构 

分 类 号：H114.9[语言文字—汉语]