當代台語電視連續劇語言使用與變異

1990年代因為政治民主化而進入後殖民時代的台灣，已日益趨向發展為皆普遍混用「雙語」的社會，也就是說台灣社會早已逐漸發展為雙語相互滲透、融合的語言社群。是故，本論文遂以當代台語電視連續劇《風水世家》的語言使用為研究主軸，以觀察當前台灣以雙語社會為主流的語言發展中，台語的使用面貌與變異現象，並歸納分析其形成的原因；其次，結合劇本分析與實務訪談，從中了解電視戲劇從業人員進行台語書寫及演出時的操作過程所面臨的困境與瓶頸；再進一步延伸進行平行式的觀察，比較新加坡、中國兩地閩南語影視劇的語言使用現象，探討其間的同質性與異質性，從中借鑑省思台灣面對當前語言潮流應有的態度，然後歸結文本分析與實務訪談，藉此審視台灣的國家語言政策得失、本土語言推展的反省，並提出針貶與芻見；最後則就如何增進台語電視節目的傳播與教育功能，以及台語影視語文製播的專業化提出芻見。為實現上述架構，本文內容共分七章：由內而外依序是第一章前言，第二章「台灣語言政策與台語電視連續劇發展的回顧｣，第三章「台語連續劇語言使用現象｣，第四章「台語連續劇語言使用現象原因分析｣，第五章「台語劇本書寫與從業人員訪談之評析｣，第六章「台新中三地閩南語影視劇語言使用比較｣。第七章彙整前述六章所做的結論當中，首先先陳述本論文的「研究成果｣及「語言態度｣的反思，其次就台語書面及口語的使用情境進行區隔，最後針對台語影視語文製播的專業化以及新南向政策方針下聯繫東南亞閩南語僑民情感的媒介功能提出建議。

關鍵字

雙語；語言混雜；語言變異；後殖民語言；台語連續劇；風水世家

並列摘要

Taiwan, having entered the post-colonial period on account of the rise of democracy in the 1990s, has turned to be a society of bilingual speakers. In other words, Taiwan has become a community in which different languages are gradually mixed and integrated in daily use. With regard to this, this research focuses on a contemporary Taiwanese TV series, Feng Shui Family (風水世家), exploring how and why Taiwanese has been used and varied over time in a bilingual society. Secondly, with analyses on both drama scripts and several interviews, it points out the difficulties and problems TV drama-related personnel encounter in the process of writing and performing in Taiwanese. Furthermore, this research conducts a parallel study on a film from Singapore and a drama from China, comparing and contrasting the way Southern-Min is used in these areas, in order to provide an opportunity for us to reflect on our attitudes toward languages in Taiwan. With a combination of textual analysis and practical interviews, this research offers not only critical reviews but also suggestions for the modification of national language policy and the promotion of native languages. In conclusion, preliminary suggestions are proposed for enhancing the promoting and educating function of Taiwanese TV programs, as well as for developing a more professional environment for producing Taiwanese films and programs. To achieve the goals mentioned above, this research consists of 7 chapters as follows: Chapter 1, Forewords; Chapter 2, Retrospection on Taiwan language policy and the development of Taiwanese TV series; Chapter 3, Language use of Taiwanese TV series; Chapter 4, Reasons for language use of Taiwanese TV series; Chapter 5, Analysis on Taiwanese drama scripts writing and interviews with drama-related personnel; Chapter 6, Comparison and contrast of language use in dramas and films among Taiwan, Singapore and China; Chapter 7 first concludes with the findings of this research for reflecting over language attitudes in Taiwan. By clarifying different usages between written and verbal forms of Taiwanese, this research finally offers suggestions for developing a more professional Taiwanese drama and film industry, and, under the New Southbound Policy, for strengthening the role Taiwanese dramas and films can play in building connection with Southern-Min speaking communities in Southeast Asia.