當代客話散文用字與詞彙研究

A Study of Character and Lexicon in the Contemporary Hakka Prose

魏梅芳(Mei-Fang Wei)

指導教授 ： 李梁淑

國立屏東科技大學/人文暨社會科學院/客家文化產業研究所/碩士(2015年)

https://doi.org/10.6346/NPUST.2015.00259

摘要

過去，客家人以客家話讀古詩、漢文，在寫作時以漢文書寫，語文呈分離狀態，長此以往，豐富、美麗的語彙，逐漸消失。1988年還我母語運動後，客家意識崛起，客家語言文化傳承的課題逐漸受到重視，與此同時，以客話創作的文學作品也逐漸發芽成長。本研究以六位作家的七本客話散文作品為分析對象，藉由作家訪談、文獻分析法，以及學者專家的母語寫作論述，探討客話散文用字與詞彙的異同，從文化語言學的角度，歸結客話散文書寫在語言保存上的價值及意義。
研究結果顯示，客話書寫追溯至19世紀中葉，巴色會傳教士編譯的客話聖經與教材。用字未統一，詞彙流失是造成當代客話漢字書寫困難的因素之一。客話散文作家間的用字呈現不一致現象，有的屬於次方言間詞彙不同所致，有的與作家本身的用字習慣有關，而本字未定，認知不一也是造成差異的原因。但政府訂定客家話推薦用字，對於客話書寫用字的標準化及統一，起了積極的作用。
　　客話散文作家運用的詞彙各具特色，龔萬灶大量使用農業社會用語詞彙；范文芳致力於抒發客家人的情感，堅持用客家的語言創作，使用較多文化性的詞彙；張捷明創新題材，關心生態與環保，手部動作詞的運用豐富；江昀要提升客話文學的層次，利用構詞法創作出許多ABAC型的語詞，對於人的感官情緒、性格語詞運用多有斬獲且出色；馬客寧以朗讀稿的型態創作，呈顯南四縣詞彙風貌，動作詞的應用頗為豐富，黃永達的作品以表現時空轉換、事務的對比的詞彙較多。
客家話在臺灣落地生根後產生了變化，作家的詞彙呈現四種層次：本土層裡的熟語反應客家人的「稻作文化」；客華共通層中，龔萬灶認為客話書寫詞窮之餘，輔以華語，不失為良方；文言層中，張捷明引昔時賢文，江昀改寫唐詩、化用成語； 移借層中，作家們借入許多新的生活詞彙及外來語，共同豐富了客話書寫的詞彙。
客話書寫的詞彙發生質變，有向國語靠攏、借入大量詞彙的現象，但是客話的詞彙也需不斷創新，尤其 ABAC構詞法創新的四字語詞，洋洋灑灑的出現在客話作家的散文書寫中。雖然客話裡的抽象用詞，未及華語的量多驚人，但經由作家的精心創作、刻意保留，起了正面成長的作用，成為客話書寫的語料庫。

關鍵字

客家話 ； 客話散文 ； 客家文學 ； 書面語 ； 詞彙

並列摘要

In the past, Hakka people read aloud ancient poems and traditional Chinese literature in their own native language while they created writings of their own in mandarin Chinese, which therefore resulted in the diversity of Hakka. In 1988, the Movement of the Resumption of Native Languages aroused Hakka awareness.
In this study, seven collections of Hakka prose and six authors were included. The research methods included in-depth interview, literature review, and literature analysis made by scholars.
Written Hakka can be traced back to the mid 1800s, Basel Evangelical Missionary Society edited and compiled Hakka bible and reading materials. However, massive loss and inconsistency of vocabulary at that time makes Hakka people hard to create accurate and standard written contemporary Hakka literature. Moreover, discordance in words is obvious among the Hakka works, for instance, authors’ preferred lexicon, different regional dialects, and the discordant recognition. However, after the authorities announced the recommended written Hakka words, the standardization and uniformity of written Hakka form.
This study reveals that Wang-Zao Gong, popular in using agricultural society lexicons; Wen-fang Fang dedicated himself to the convey of emotions for Hakka people, availing his works of diverse cultural words; Jie-Ming Chang innovated different themes, showing more concern for ecological and environmental protection, and applying plenty of words in relation to hand gestures. In order to promote the level of Hakka literature, Yun Jiang designed many ABAC words through the aid of morphology, which enlivened and enriched words for human emotions, senses and moral characters. Ke-Ning Ma created his own literary works in a way to read aloud, presenting qualities of southern Xi Xien and his application of verbal forms is also plentiful. Yung-Da Huang’s masterpieces are characterized by words of spatial transformation and contrasts in affairs.
Four different levels are evident among Hakka prose: the idiomatic phrases in indigenous level, reflecting on rice farming culture of Hakka people. In Hakka-Chinese communal level, Wang-Zao Gong is opinionated that what written Hakka lacks in words can be compensated by mandarin Chinese. In classical Hakka level, Jie-Ming Chang uses loan words and words used in the ancient times, and Yun Jiang paraphrases poems popular during the Tang Dynasty and revises some classic idiomatic phrases. In the level of borrowing, there are large numbers of loan words and newly-coined words in our lives, both of which mutually enrich written Hakka and its vocabulary.

並列關鍵字

Hakka language ； Hakka prose ； Hakka literature ； written language ； Hakka vocabulary

參考文獻

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