國立成功大學數位論文

Transcription

1 A Study of Oral Tradition in Taiwanese Puppet Theatre

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4 ii LP VCD / /

5 iii 1930

6 iv khó ioh

7 v paradigm

8 vi Abstract This thesis, composed of seven chapters, will explore the oral tradition of puppet theatre (p±-tē-hì) in Taiwanese. A great deal of effort has been made on Taiwan s puppet theatre. What seem to be lacking, however, is to understand its problem of language, especially its aspect of oral performance. The puppet theatre is one of traditional folklores, which were once assumed to inevitable decline in Taiwan. It is a miracle that the puppet theatre unceasingly survived and presented Taiwan as a result of the icon election. The campaign Show Taiwan to the World launched last year (2005) by the Government Information Office, it consisted in asking Taiwanese citizens to vote on which of 24 different images most distinctively symbolize Taiwan. With some 780,000 people voting, an image depicting the folk art of glove puppetry has emerged as the top choice of the people, garnering over 130,000 votes. It is interesting to note that the main process of Taiwanization in the puppet theatre developed from a form of local entertainment to symbol of national identity. Based on the reflection of the process of oral-aural in folk literature, we will discuss the formula, type-scene, and improvisation of performance-texts that I transcribed from puppet theatre s recordings. This study can help the Taiwanese rediscover the oral literature of which they can feel proud. The chapter one is the introduction of motive, purpose, content and method, and narrates the development and circumstance of the puppet, and sum up forefathers research achievements. The chapter two presents an historical overview of the aesthetic transformations of Puppet Theater in Taiwan. We will begin by considering the concept of Taiwanization

9 that includes the historical development and the social phenomena of puppet theatre. There is fairly general agreement that the glove puppet theatre was originated about three hundreds years ago in Hok-kiàn province, China. The local theatre can be reasonably dated th from the early years of the 19 century. In the beginning, it is possible that the majority of puppet operators in Taiwan were formerly with the Hok-kiàn opera troupes and left to join the puppet theatre. The music of the glove puppet theatre consists of different vocal melody and speech types as well as percussion music, each associated with different dramatic function. According to these music styles, there are three main tradition or schools of glove puppet theatres in Taiwan: lâm-kóan, pçh-jī-á and tiô-tiāu. In the early years of the 20 th century, the musicians of pak-kóan created the new tune for puppet theatre. The new style of music is more and more fashionable, which characterized by simple and variety. This tendency provided the more powerful and more improvisational performance. So far, we have seen that puppet theatre more and more use tape recorders and phonographs and changed their performance style from quasi-opera into the narrative. The chapter three will discuss the linguistic investigation of puppet theatre. First of all, it will explore the vernacular consciousness of puppet theatre. Secondly, it will analyze and discuss the relation among the social change from immigrant society to native society, the accent boundary, and the performance of puppet. At last, it will analyze the problem of orality and literacy of puppeteer s oral performance. The chapter four will study the formula of puppeteer s oral performance, which is an expression regularly used, under the same metrical conditions, to express an essential idea. We will deal with the traditional mode of expression, the fundamental structure of puppet theatre, two categories of formula, variation and possibility of creation. The chapter five will discuss these themes of puppet theatre. First, we will consider the concept of type-scene or theme that is fairly general agreement its definition as a vii

10 viii plastic compositional unit. And then, it will dwell on three important themes of puppeteer s oral performance: the civil theme, the fighting theme and the quarrel theme. The chapter six will analyze the comedic theme (chhiò khoe-hì) - of puppeteer s oral performance. We will begin by discuss two aspect of comedy: the comedy of word and the comedy of situation, and analyze many examples of puppet theatre. The chapter seven will conclude with a recapitulation of entire thesis and the direction for future study, reflections and expectations. At last appendix, we will list a table of vowel sound and consonant in Taiwanese, and a text-performance of œg Chùn-hiông s puppet theatre that I transcribed. Keyword: puppet theatre, oral literature, language, performance-text, Taiwanization.

11 ix

12 x

13 xi

14 xii

15 /

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17 KHÓ ê siáu

18 ioh

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20 130, % Louis Althusser, l invisible le visible champ Althusser

21 coupure épistémologique

22 1 - oral-aural oral literature verbal performance LP b a 2004b

23 Ama Ata Aidoo

24 -- - Ferdinand De Saussure, structuralisme sémiologie l écriture Saussure / oral societies

25 epic Odyssey Iliad author Homer Homeric Question performer Pisistratus Giambattista Vico,

26 rhapsodes 1930 Milman Parry, formula unwritten Thomas1989Foley1990

27 Walter Ong, oral culture writing culture electronic culture Ong Ong19829

28 Antonio Gramsci philosophy de praxis Gramsci

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30 links

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32 ( )

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35 ~

36 context a1999a2000 text 1991 archetypes 2002 súi

37 performance-text play

38 a

39 c204 transcribe Sound disk VHS/Betamax VCDVideo Compact Disk DVDDigital Versatile Disc /VCD/DVD

40 s 1960s 1960s 1960s 1960s 1960s 1960s 1960s 1960s 1960s 1960s 1960s 4 4 FL FL FL FL FL FL FL FL FL FL FL FL

41 1960s 1960s 1960s 1960s 1960s 1960s 1960s 1960s 1960s s FL FL FL FL FL FL FL FL FL , , , , ( 27 ) FL613~ ~ ~ ~ ( ) ( 3 ) ( 4 ) ( 3 ) 18 FL CS243~245 CS33~36 CS532~534 FL

42 ~ ~ ~ s ( 4 ) CS121~124 ( 24 ) ( ) ( 3 ) ( 55 ) ( 30 ) ( 7 ) ( 10 ) ( 20 ) CS132~156 CS CS CS336~340, 356~365, 550~554, 566~570, 631~635 CS512~517 CS 10~14, 571~575 ( 36 ) ( 8 ) ( ) ( 4 ) TW 1~36 CS CS-538~541 9 FL ( 8 ) 8 18 CS547~549, 596~600 ANL2422~2426

43 1960s 1960s ( 5 ) ANL2411~2416 ( 20 ) ( 3 ) TW 91~110 CS110~112 ( ) ( 4 ) CS175~178 ( ) ( 4 ) ( 4 ) CS267~270 CS591~594 ( ) ( 5 ) ( 10 ) CS621~625 SAL7007~7016 ( ) ( 4 ) CS154~157 ( 75 ) CS611~685 ( 30 ) TW 51~85 ( ) ( 4 ) CS163~166 ( ) ( 24 ) ( 3 ) KP3045~3047

44 ~ ( 3 ) ( 6 ) KP3048~3050 KP3054~3059 ( 3 ) KP PL , ( 12 ) LPL LPL ( ) ( 3 ) 1970s ( 1 ) LPL7007~7009 ( 6 ) ( 3 )

45 manuscript texts 1970 Open-reel MDMini Disc Recordable Sound

46 cassette 1970s ( 12 ) 1970s( 12 ) 1970s( 12 ) 1970s 1980s 1980s 1980s 1980s 1980s

47 s 1990s 1990s 1990s 1990s 1990s 1990s 1990s 1990s

48 1990s 1990s 1990s 1990s 1990s 1990s 1990s

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56 oral tradition speech community performance improvisation

57 literature littérature littera lettre oral literature littérature orale Étienne Souriau, littérature de communication orale littérature de transmission orale littérature de composition orale Souriau narrative patterns 1950 Albert Lord, oral-formulaic composition Wang John Miles Foley 1986 Foley1988

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59 composer en parlant text context synchronic le son en acte genealogy

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61 hãp-be súi Linguistics / / speechparole languagelangue language system langage concept -

62 langage parole langue phonation Saussure /

63 synchronie diachronie Saussure Roman Jakobson,

64 Noam Chomsky, 1928~ genetic linguistics / competence/performance Chomsky abnormal

65 speaker-hearer speech community bilingualism multilingualim John J. Gumperz, a priori speech varieties language boundary Gumperz language choice parlances speech varieties

66 language choice code-switching code-mixing borrowingfasold inherent variation

67 / / Bibliothèque nationale

68 Walter Benjamin, Benjamin ownership renewal irony quotation Hannah Arendt,

69 destructive power Benjamin transfiguration redemption / author

70 Michel Foucault, Aristotle, BC present

71 Foucault artisan form synchronie

72 / storyteller 1936 private experience

73 Benjamin Claude Levi-Strauss bricolage bricoleur dialogue signifier Levi-Strauss pensée mythique chhiáng-chhiáng

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75 kap ê 1925 bat chit ê oh- ê ê gō beh taⁿ chit ê ê Chit khah iau bē chit ê -tīⁿtùi án-ni ē-thang ê thang koh ê

76 ê á ê

77 1930 / b a a a b

78

79 dictéedicatation 1837 Water H. Medhurt,

80 Carstairs Douglas, Thomas Barclay M.A., William Champell, scene

81 chîn-lâu kóng samsaⁿ góang² chiū-sītō-sī tō chhân ngô-bútango ch t-lê chit-lê hit-lê ch t-lē -mó ch t-ê chit-ê hit-ê -hó lòetoehhông + tó+ h³+lâng -- --ê --ê --ê --ê hiông--ê --ê

82 8 Hippolyte Adolphe Taine, Julian H. Steward, a

83 immigrant society indigenization native society

84 / / / / / hegemony

85 1994b1995a

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92 1990a

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95 ê

96 I

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98 200062

99 teh ke-si

100 tùi-thò-á khan-kh

101 teh-kài 1969 CSN-1 LP

102 CSN-2 LP 1969 CSN-3 LP CSN-4 LP 1969 CSN-5 LP 1960

103 1970

104 1995a150 pãk-hì

105 a47

106 b 1997a

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108 1997a52 hàm-hì 1994c52

109 1980 / 1987

110 / / 1999b k -l³-hì 1990

111 :

112 a higher reality

113 a 25

114 resistance a a

115 ang-á-tāi ang-tāi-á

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117 --ê

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119 c tiâu

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121 péng

122 ê 1970

123 àu-týh àu-týh àu-týh-týh

124 ê kiáⁿ-sài b

125 ê 1988

126 1995a quasi-opera style

127 narrative style

128 b153

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131 % 9.0% 23.4% 6.3% 11.7% 12.6% 25.2% 2.7% % 23.4% 12.6% 1920

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133 pçh-jī-á

134 colloquial

135 bilingual 1873 pçh-jī characters written according to the colloquial, without regard to classical usage.

136 Douglas & Barclay tiô-tiāu

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140 b

141 a

142 colloquial sound boundary

143 iang -iong

144 immigrant society native society sub-ethnic boundary

145 tō pçh-jī-á té kok-bêng kok-biân bē-bōe hiông--ê

146 divergence convergence bô-khiuⁿ

147 Piere Bourdieu, l habitus linquistique pouvoir symbolique Bourdieu

148 Douglas & Barclay

149 A Dictionary of The Amoy Vernacular spoken throughout The Prefectures of Chin-Chiu, Chiang-Chiu and FormosaTainan

150 lú-sài lü2-sè u ü Douglas sü gûn gîn 3 7 u ü khü3 khì kün2 kín káⁿ kiáⁿ lāu-siùⁿ-kang

151 a

152 b114 h -bóe hó si-sû hàn-õh-á su-õh-á 44 su-pâng

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156 éng thok māu biāu chhut-saⁿ

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159 b199 to beh to beh

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161 Hoah chiâu

162 h³ bōe

163 47 Iông-Jî 1960s Chheng-thian-pçk-j t Thong-pò-bêng-sèng Hōan-Èng-Liông Liû-bêng Hûn-Chiu-Giõk-Sèng-Jîn Lóng-lóng-khiân-khun chheng-phêng-sèi-kài ê Iah -thang tòa chit-e ê ê chheng-thian-pçk-j t thong-pò-bêng-sèng 47 Sú Iām-Hûn Sú Iām-Bûn

164 liû-bêng lâu-miâ Ei ì tō châi-ko pat-táu ê ē-tàng sam-seng iú-hēng Tāi-hãk Tiong-iông Sù-su Ng -keng œg-chiõh-kong Sam-tho Sù-liãk Sun-chú Chiàn-chhek --Tāi-hãk tō Lí-pçk hān-lîm Tāi-hãk chi-tō chāi-bêng-bêng-tek chāi-chhin-bîn chāi -chí-î chì-siān Ti-chí jî-hiō-lêng-tēng chēng an lū tek Ti-s -sian-hiō tō-chek-kīn-ì kám chek-kīn-tō-ì sio-siâng teh heah-á thiaⁿ-lûi kám diglossia Charles Ferguson,

165 standard language regional dialect Joshua Fishman Ralph Fasold / formal/informal / guarded/ intimate superposed bilingualism style-shifting Fasold / / performance competence ng -liú g³-liú /

166 language attitude ê ê oral communication

167 1990 grammar orality literacy Walter Ong, primary orality secondary orality Ong

168 otherness

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172 ~ ~ ~ /8/17

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175 ê --ê koh-khah pháiⁿ 1976~

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177 māi

178 disglossia Charles Ferguson, High dialect Low dialect

179 Fasold

180 ABB phiàng phiàng a1998b1998c

181 -

182

183 kháu-pçh Foley Foley an expression regularly used, under the same metrical conditions, to express an essential idea. 51 meter

184 khó

185 bīn-chhiuⁿ Hā-h

186 Chhian-san le-sui bai-ui-ui, Liang-gian cheng-cheng koan-san-theu. Hau-han chi-chai chheng-san lui, Nan-chi ho-ji tau-oang-phau. chiàⁿ-im lān-thân lōan-tôaⁿ koan-san-theu theu

187 ê chóng-hiông-tî-a pēn-koan Bertolt Brecht, epic theatre verfremdungseffektalienation historification

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189

190 O b liâng liông 57 phái pháiⁿ 58

191 59 kā chhin-chiâⁿdouglas & Barclay chhin-chiâⁿchhin-chêng chiâⁿ 61 bat

192 sì-liân-pçh sì-l liām-pçh liân liàn liān

193

194 1974 LPL7017 Koaⁿ-ka kong-chú sī lõk-siau-iâu chhù-chhù lú-chú kò-kò kiau 63 Khek-khéng sió-iâ tâng-chh g-chím 64 tī-teh chok-gôan-siau sio-bat sio-bat hā Tiō Thian-hòa hā ê án-ne tī chit-ê hôaiⁿ-kiâⁿ t t-t g t g -táu giâ-ngē-ko -liú-liú chhiân-chhiú 65 án-ne khui chh -kóan che 63 kò 64 siàu-iâ sió-iâ 65 chhiân

195 hā to-tiõh né khah mē chit nehpêng h hⁿkā chîn-lâu He h hⁿ ke-pô-á hā Niû Pçk-thô H hⁿ --êmē h³ h hkah h³ lí mē h hⁿ kā khai Chit-má beh ê chit-ê Bûn-giõk hit-ê kóng súi--ê h hⁿ Nā mē kah péng bōe koh kā chit to-koh -- tī-teh 66 hā sio-bat VI VIII118

196 67 sêi-liú se-li-hu sêi-liú kháu-pçh aside

197

198 ê ê tan-tō phit-má chit-ê ê thâi thian-tē hun-bông-bông j t-gõat-àm-bû-kong Chit-ê ê si-hôaiⁿ piàn-iá hoeh-lâu sêng-hô Chit-ê to beh ê kā tiâu narrator

199 Chit-ê eng thian-hun-tē-àm ê nā kán-ná hióng-hióng eng family-resemblance

200 ê

201 kak-sek

202 ng -im hun-bêng 68 kioh-siàu methodology

203

204 hoe-bīn phah-bīn Sin-ki tè-ông pian

205 Hù-kùi sīm hián-jiân 71 Sûi-jîn pí-tit ng Khòai-lõk sū sîn-sian s Kûn táⁿ lâm-san béng-h Kha that pak-hái kau-liông

206 Siáu khó liām-khó-á khó Góa chò-seng-lí ài-hó-thiⁿ Ch t-nî tō-liáu kòe-ch t-nî Ū-khui-tiàm-khang bô-bē-hòe Ch t-j t siu-liáu tām-põh-chîⁿ

207 2005 koh che 1995 ê tō chit ê G³-niú-siâu Kiat--e G³-niú-siâu Kiat--e Siáu

208 1980s lām-sám kô Nā he Ah nā he tō chhit-thô lām-sám kô lām-sám Kô lām-sám kô

209 K -sin lōng-chek p³ chhi-chhám Khong-tòa eng-siaⁿ put-kám thî Tōan-chhiâng chhiâng-tōan khong-iú lūi Iū-khióng chiân-t² sī l³-t² bê 73

210 74 Sú Iām-hûn 1960s It-chê táⁿ hui-niáu 75 Eng-hiông chāi siàu-liân Keng-si thõk bān-kòan Bú-gē s p-pat-poan Hui-sī khoa-tāi-khió Tì-ióng lióng-siang-chôan Sú Iām-hûn

211 2. tòa-ka-chut 1960s Thian-tē sûn-khôan it-lí-thong San-hô tāi-tē kôan-hông-hong Jîn-sim kan-hiông lân-liāu-sióng Sin-ki sian-hoat lêng-hui-khong 1965 Bêng-sim kiàn-sèng chhiau-sam-kài

212 Hóan-chiàu hôe-kong kiàn Jî-lâi Bān-jîn thiau-kok-pó Bûn-bú tēng-san-hô Gōa-kok lâi lãp-khò 77 Kang-san bān-liân ko 76 Jû-lâi Ji-lâi 77

213 stereotype 78 láu-ke-pô-á 1979 h hⁿ taⁿ taⁿ nā khiā 78

214 teh s kah liap kah hioh koh h³ 1990s kah

215 nā hioh h³ liap kah 79 làu làu 1999 Hûn sàn phek-khong sin sek-chēng Hūi kui siân-tēng gõat-lûn k 79 th -t g-thâu sex koh liù liù 2001

216 1979 Siu-sian hãk-tō sīm hi-kî liān-sêng kim-kong ch³ kin-ki hūn-gôan-jia-thiⁿ-boaⁿ 1997a57 kong-bõat téng-chhiú kong-bõat ē-chhiú kong-bõta

217 1999 Chhun-hā chhiu-tong sù-kùi-thian Hong-hoa soat-gõat kēng siang-liân 80 Iàn hui lâm-pak ti hân-sí 81 Jîn õat tong-se bêng-lī khan kéng 81 gān

218 1999 Bān-poaⁿ to-sī miā Pòan-tiám put-iû jîn gâu teh

219

220 s 1980s s s Tāi-chiòng hōng-cheng tám-khì-hô Io-hôaiⁿ chhiu-súi gān-lêng-to Hong chhoe g²-k san iâu-tōng Tiān-siám seng-kî j t-gõat ko 84 g²-k 85

221 tòa-ka-chhut

222 Kim-tiān tong-thiô chí-koh tiōng Sian-jîn chiáng-siāng giõk-phû-iông Thài-pêng thian-chú tiâu gôan-j t Ngó -sek hûn-ki tài kiú-liông

223 1994 Kim-tiān tong-thiô chí-koh tiông Sian-jîn chiáng-siāng giõk phû-iông Thài-pêng thian-chú tiâu gôan-j t U-sek hûn-ki tài kiú-lêng tiōng tiông tiōng tiông tiông liông lêng liông ngó u 88 u-liu-hôan-kong ú 1990s

224

225 Thian-tē j t-gõat chòe-tiâng-seng Khó-thàn siān-ok lân-hun-bêng Jû-iú chin-siàng kúi-kok-chú It-chhut thian-hā tēng-thài-pêng Hui-si kiat lô-bóng Lâi-khì -àm tiong Chē-tìn pat-kòa tiùⁿ Kau-chí it siâ-lông

226 Lân-tēng hun-hun kah-chú-liân Chhian-m² tōng-tōng pek-iâng-thian Chhong-thian chí-ì tiõk-su-bēng Chu-chú khiân-sêng hû-tō-tian Hýt-teng tiám-liāng hôa-kong hiàn It-sòaⁿ seng-ki kiù-bõat-liân 90 nî

227 khó khó liām-khó-á khó khó khó 91

228 che tō ê hā hā khó khó H± khó Ah hā khó khó khó khó khó khó khó khó 1930 khó khó ê siáu

229 khó /11/30 koh leh chiâⁿ tī he koh ê phòng --ê koh ê koh leh sio-thâi ná ná -thang koh ê kiáu /11/ /11/28koh koh ê koh ê koh ê

230 soe-bóe-tiāu ê --ê kap khiau khiau--ê khang-khòe bē koh ê koh leh gìⁿ-giàuⁿ koh leh bōe 96 táu ê kha-sau kha-sau--ê bōe koh ê gâu --ê koh ê àu àu ê sio ê àu /11/28 siâu /11/27 khiau--ê khang-khòe 96 bōe bē bē

231 bōe-sái koh ê chhōa chhōa koh iám-bui 97 chui sián 98 kián kah chit-ê khó 97 iám-bui iám-bui teh --ê khah 1980s 98 sián sián

232

233 --ê kap khiau kha-sau gâu --ê àu chhōa --ê pháiⁿ- pháiⁿ-ê Thomas Hobbes, sudden glory ê khó khó ê ê

234 Beh beh h³ kah chhit- teh teh bô chho 101 lê jõah jôah hôaiⁿ-hôaiⁿ kó 102 ê koso bôhôthôthô bôchhobókóô ko khó sexual hints 100 tàⁿ-kah chho lê 102 kó

235 Khah hit-ê h³ teh leng

236 hit-ê kán-ná kán-ná khó khó khó thái-ko-chèng chhiū-leng khó 1995VII XI XI VII9 1995VIII

237 118 kiau thiáu kiāu siáu liáu VII VII191995VII9 1995VIII XI iáu-thiáu 1995VII9 1995VIII XI VII19-22 chhio siáu 1995VII XI VII9 1995VIII118

238 khó khó siáu khó siáu 1995VIII VI XI siáu 1995XI

239 siáu siáu siáu āu-sì au-sì ê pē

240 1998a

241 1970s Thiâu-thiâu lâi-kàu chí Kín-kiâⁿ být iân-tî

242 Óan cháu s±-chhian-lí Kín-kiâⁿ být-iân-tî Tiau-tiau lâi-kàu-chí Sū-kip put-kám-tî Kín-kiâⁿ bõk-iân-tî

243 1988 Chhut-tōng lâi-kàu-chí Koan-kéng put-kám-tî 1994 Hōng-liáu kok-ông lēng Put-kám kiú-iân-thêng

244 Táⁿ-pān lâi-kàu-chí Kín-kiâⁿ put-kám-tî h -bóe hó-si-sû khah Bûn-chiuⁿ lõh-pit kai-chu-giõk Chìn-thè hiong-tiong kī-kah-peng Bú-sýt- chôan-châi ūi-kok-thí Siàu-liân put-pí kok-kan-sêng

245 1999 Má tò lôan-lêng-hiáng Chē-chú pá-tiâu-h³ Bûn-chiang lõh-pit kai-chu-giõk 115 Bú-liõk-hiong-tiong kī-kah-peng Chìn-thè it-sin koan-tī-lōan Chheng-liân chiah-sī kok-kan-sêng bûn-chiuⁿ bûn-chiang

246 khó

247

248 type-scene theme Albert Lord, The Singer of Tales groups of ideas Foley the groups of ideas regularly used in telling a tale in the formulaic style of traditional song.

249 multiformity Joseph Russo Michael Nagler Gestal 116 Foley Dold Fry stereo-typed Foley a plastic compostional unit 116 Gestalt psychology 20 Gestalt shape form the whole Arnheim

250 ioh ang-á-kè participation lāi-soaⁿ chò-tōa-chúi lâu-sam

251 1989 piàng-piàng phau-phau kha-chhng -pùn- Metahistory

252 117 ioh ioh ioh ioh bī-chhai ioh ioh

253 ioh ioh ioh 1979 He h³ h hⁿthiau-tî hâⁿ Mhtī teh ah tī teh giàn Tiuh Tiuh tī teh ah kah beh tī teh chiah-nih hâⁿ chiah-ê --ê

254 chhái che hā --ê liohche liohche --ê lioh teh He bōe nā bōe tō ah tō h³ nā h³ -- h hⁿnā ah h³ -- tī chia gâu chiah-ê li-li kh k-kh kchit-má nā hông h³+lâng-- tī teh ah tī teh giàntiuh Tiuh tī teh ah kah beh Che tō Hâⁿ Hiohtō teh hit -- H hⁿah hit tō teh ê t³-únh hⁿahtiuh tiuh tī teh jī ah tõk tõk ah kā giú h h tī teh ah kah beh tō hit --ê MhÁn-ne koh neh / --ê

255 / ambiguity 1989 George H.W. Bush 1989 H án-ne Án-ne tō beh kap Ah nā án-ne chit Ah Khah mā Án-chóaⁿmā Ah tō ah án-ne h hⁿ SéⁿAh chit chông án-ne án-ne ê Eh-- Eh-- EhThài hiah H Ah nā h hⁿ tō khah nò

256 bē H Án-ne ê H Án-ne ê He bat -bat H Ah 118 H Án-ne Ah Ah chit-má --êhe che ôan-ná bat Hām he bat Ah Ah --ê pē-a hechiah --êah tó ê kám ê hiuⁿ MhSái chit 120 bē bē Án-ne Án-ne Ah án-ne khu-lon

257 Ah mài kan-nā mā che --ê H ---- Ah kám Hàⁿ tō ê che ê h hⁿ chit-má nā lòe+ nā bē án-ne tō tō --ê H ---án-ne Beh lòe + H hⁿbeh Khah Khah H±--h±H± hiâm 121 ê ê ām-kún bún chhiāng-chhiāng 121 Hiâm

258 Che án-ne kā Ehⁿ----Taⁿ---taⁿ--taⁿ teh Hâⁿche nái chit-ê----che----che Chiah beh án-nóa ê H Án-nóa hā Hâⁿtō bat hā Ah nā bat --êán-ne che ê Ehⁿ----Che hā hiâm ê ê bún chhiāng-chhiāng che án-chóaⁿ hā bat Che---che----che khah tō Ah lōhiâm ê ê bún chhiāng-chhiāng Che---che----che beh thài-i Che---che----che án-ne chit-ê thçt nńg-á 122 beh che ê nā kah nā án-ne h³ h³ he tō h hⁿ tī teh 122 láⁿ-á nńg-á

259 To -- soah ê --ê -- Iah Iah in ê án-ne Iah ùi kā hiâm ah he ê ām-kún kā hiâm ê ê Ah bún he h hⁿ suh in ê án-ne án-ne chhiāng-chhiāng che bat Khah tō ioh bē Hahⁿtō 1989 hiâm ê ê sún chhãk-khang tàu-sún sún

260 th sông sông sông ioh ioh chhiū-á

261 198591Saussure concept image acoustique l arbitraire tiuh tiuh hiâm ê ê Claude Levi-Strauss Marcel Mauss signifiant flottant Levi-Strauss1950XLIX

262 2001 Nā ē-tàng ê h³ Nā ê h³ neh khah teh ôan-ná bat h hⁿh³ nā kā Ah nā ê beh I-chong

263 kim-kàm 123 Si-hong-miāu-iõh 124 thng-thâu ko-koat 125 he --êtō che chéng- h³ioh ( )

264 127 Ki-chiân 128 H³-phok Oh h³ tiâu Chit-má koh tō bē chiah-ê chē--êchiah neh chiah-ê H± koh 127 Kiú-bī-tiâng-hoa Kiú-bī-khiang-hõat

265 Liân-lí 132 Sù-sîn 133 té Sè-sin 134 Hiù án-ne h hⁿèⁿ---koh chit ioh bē Chhoan-kiong 135 beh T³-tiōng 136 Ah --ê kap --ê neh Kap-kài H Kap-kài e to hit to-tēng 137 he he -- He teh --ê He nā --ê teh tō Ah --ê kap --ê to kap -- Ah H±Án-ne chhōa ê h hⁿ Lêng-lí

266 té beh tiòng t³-tiòng t³-tiōng chhôan chhoan-kiong --ê kap --ê kap kap kap kah-phōe kài kap-kài

267 1990s Hèⁿ Án-ne Chéng- chhun chhun oh ioh Nā che kā h hⁿah nā chông án-ne nā h hⁿh³mē kā tō Án-ne oh h³ tú-chiah chéng- chhun ín-mē kā ioh ê Ah chit-má koh chéng- chhun mài kā mē ioh --ê ioh --êán-ne -- Hehⁿ oh oh mā ioh --êná teh ioh --ê nā kā iohnā ioh chông án-ne Ah nā ioh ah h³ nā án-ne án-ne h³

268 tō bat Án-ne --ê oh ioh oh HèⁿIoh Chéng- chhun beh án-chóaⁿ ioh chiàn Saⁿ sù-phah su-pa sù-phah 141

269 142 Ehⁿ nái chiah taⁿ H³ --ê --ê mā -bā-sángán-ne --ê ah tō thçh h³ chhiàng-tù

270 chò-tùi-á 2005 Niâng Hūi-ông lēng Kong-sun Thiú

271 chhéng kà-bûn chāi lî-l²-siōng chīn-sim kò-chú hãk-bān-chiong He Ōe Lêng-kong khián Kong-iá Tiông chè Thài-pek î hiong-tóng tiong sian-chìn lí-jîn bú pat-çk OhChiah-ê He mā he teh --ê hiah mā tō 143 kà têng

272 h³h hⁿ nā koh H hán-ne H hán-ne Thiau-tî Hahⁿ tú-chiah ê ê H h nāi-chi kah lúi-lúi tūi-tūi thiau-tî hahⁿú táⁿ nāi-chi chi-chúi tih án-ne h³ Hahⁿ he tō án-nehit-ê ti teh ah ê he tī teh hā Taⁿche beh Ah kā n±koh koaⁿ -lān lān-thâu iô án-ne

273 Án-nóa Án-ne kám koaⁿ -lān lān-thâu iô tō tī teh he koaⁿ -lân h hⁿah he hit teh Án-ne ah Án-ne chit-ê tō Ah ah Án-ne He khiàng neh Ah tō tī he beh hia h hⁿhe tī teh h hⁿhe án-nesà-ásà-á Ah to kā án-ne chi lân koaⁿ -lân koaⁿ -lān lān-thâu iô 144 kam-lân

274 kho-tiûⁿ būn-chhì 145 pôaⁿ-chhùi-gím hãp-be 2005 Teh teh

275 koh tī hia koh H ---- siâu--ê neh án-nóa tō kā án-chóaⁿ chông Bē Án-ne hãp-be neh Che teh --ê teh --ê to hāⁿ bē koh hāⁿ bē ē h³ ---- he kài Hãp-be nái He hãp-be hãp-be teh He chiah-nih jõah kôaⁿhe bē kôaⁿ he teh --ê H±Hãp-be teh --ê He hãp-be tō kā tō khah --ê H±hãp-be Hãp-be hãp-be --êhâⁿ

276 E--i To teh koh --ê khah -thang --ê pháiⁿ Hãp-be hãp-be hãp-be khah nā he hãp-be Hãp-be H± tō hãp-be tō hãp-be E--i ---- Ah tō H -- Koh bē bē bē bē he hãp-be koh hãp-be E--i Ah beh H He Hãp-be koh H chit-má--- tú-á ah chit-má koh bē neh hâⁿh Koh thiau-tî ê pân ê iah Ohhãp-be khah --êkoh hãp-be ----

277 ê ê iah Hãp-be iah Hãp-be Oh Thianchit-ê h hⁿ h hⁿ hãp-be H ----tēng teh he teh põah-kiáu Ah Thiau-tî H± kā h hⁿ H±hãp-be H --- chiâⁿ He he Bē põah-kiáupõah-kiáu Bē põah-kiáupõah-kiáu koh Thian-tē kun-hū-su Oh oh

278 án-ne H± h³ põah-kiáu tō Hãp-be -thang Koh Su-jîn jî-s -hãk Hãk-s p pah-poaⁿ kî-bú-gē 146 Gē-gē kai-lêng-thong Thong lêng iû-sù-hái Hái-khiok it-seng-pêng Pêng-ka chò-hó-sū Sū-sū kai-koan-sim Sim-sêng chek-tek-hó /5/20

279 Hó-sū khèng-ka-bûn Bûn-chiân seng-sūi-chhó Chhó-bõk iū hông-chhun Chhun bêng-iú chhun-kéng Kéng-siōng iú-thiam-hoa Hoa-tiong iú-kun-chú Chú-sun hàu Hàu-chúhãp-be kám-tōng-thian ---- án-chóaⁿ SiuⁿSiuⁿ soah kiù bē Che jîn put-khó-í māu-siòng hái-chúi put-khó-í táu-liōng H --- koh thiau-tî Hãp be -----hãp-be

280 Chú-tiang hãk-kan-lõk ê án-chóaⁿ kan-lõkê tō tō Tòa-hia hiah-nih Ti-chi ûi ti-chi put-ti ûi put-ti sī-ti iā thang koh hâⁿ ê Chit-ê --ê Hãp-be----hãp-be Koh h³ Bē hãp-be Oh hãp-be tō hãp-be bē bē bē bē he hãp-be koh hãp-be ê ê iah iah

281 147 kan-lõk

282 Sunkist --ê He--- hãp-be jõah--êiah bē kôaⁿ ah teh kôaⁿ ê hā --ê H±---he --ê lioh thiau-t oh tō h³ ---- hãp-be h hⁿ ê he ah H± he tō ê ē-tàng thçh --ê He---he---hãp-be Hãp-be

283 1975

284 phì-siùⁿ 2001/11/ : N -chú Án-ná

285 kám beh HmhâiHe ê Tāi-tiōng-hu bû-chhe khó-pí k chi bû-niû he êⁿ-á Bē Ah beh siáng + Mh---nā hiah-nih súikoh hiah-nih he he kā bē bái h hbē Án-ná án-ne h hkhóng liap-liap mā kā HmhAh teh súi Hāu-hia 149 bē sán-khùi 150 koh gâu he án-ne tō liap-liap mā kā

286 1990s Taⁿ he tīto kám súi tī hiahche bái tō bái ê ê Che nā h³ Che tō bái kah nò kā tō-beh kā niâóa Óa -ba-sáng -ji-sáng tī -ba-sáng -ji-sáng -ba-sáng chit-ê chit-ê che oh bē --ê án-chóaⁿ kā -ba-sánghâⁿ Oh bē --ê hioh to nā ê h hⁿ khòng bē ê bē --ê kā -ba-sángah h hⁿ -ji-sáng ê -ba-sánghit h hⁿ--- kā Ah nā kā pháiⁿ

287 Án-ne -- Iah thçh ê h³ beh kā chit Nā ê khah --ê hōan nā tú-á teh --êhōan kā che h hⁿ lûi-tui 153 koh hāu-hia 154 koh gâu ohah kan-nā tō gāi-giõh lù kúi--la Nā che h hⁿ ê khah --ê Kā mē Ah he si -nài-chit-kah 155 Ah lioh pē che bái pē to kā bái báih h kan-nā tō koh kā mē bái mē ôan-ná kā -ba-sáng --ê khah --ê Nā kā che h hⁿ koh koh Bái -hó 156 Nā ê lô-lôkoh ná ah ná koh ná ah koh mē tō cho mā-bē chit-ê oh tō oh bái ah teh súi teh súi hioh kan-nā chhun chit niâ --ê mó -hó

288 kā lûi-tui ohlà-sap oh bui-bui thûi-thûi koh bē he 157 ohkan-nā ohkoh ná koh ná oh ê koh koh ná ohbē koh ná lān-sui 158 Ah he Hām chit- Beh tō mē mā-bē -- --ê Nā kā tō bē ê koh ná koh ná koh koh thèng koh ná thèng koh tī he Ah nā ê kha-chhng h hⁿkoh ná ohkoh ná ohná oh siān tī teh mē kan-nā tō kah chit-ê oh hóng-hut tō h³ Tòng Si-to puhstop - --ê -ba-sáng -ja-sáng kap ohah taⁿ soah beh kā mē --ê hiohhmh án-ne kap beh thài ê Oh oh nái hiah gâu Nā teh --ê tòa tī tòa ê sui lān-sui

289 mē kap ôan-ná bē Án-chóaⁿ Mài án-ne khòng bē ê koh gâu koh koh h³ oh hóng-hut tō Nā ê lô-lô koh ná ah ná koh ná ah koh mē tō cho mā-bē ê koh ná koh ná koh koh thèng koh ná thèng koh tī he Ah nā ê kha-chhng h hⁿkoh ná oh koh ná ohná ohsiān tī teh mē kan-nā tō kah lé--ê

290 sio-po ~ (hiān-chùi-péng) nā tō h³ Ah nā tō

291 Eng- kap chit-ê tâng-chh g kiōng-chím -thang kā chit-ê án-chóaⁿ ---- ê lām-sám ê nái kā kah hiah-nih neh Tek pún bû-sim gōa hô-seng kî-chat

292 Liân sui-iú khóng put-jiám tîm-nî Lîm-chhim tiok-b t kiâu-hu put-lêng hē-chhiú Chúi-chheng hî hiān hî-ong -thang koh nehh hⁿchhut-kháu sêng-chiang HaⁿÁn-ne Thiau-tî hâⁿiú-bí-giõk i-su un-tõk jî-chông-chu kiû-siān-kè jî k --chi K chi chài Ng² thāi-kè chiá-ià tō beh H h-h hàm-hí kim-hōng kiat-tông-sim iú-jîn î-kui jû-sek-khîm Chiong-lâi hông-gân put k -iú kiōng-kî kai-n ūi-ti-im N² siāng-put-kái chhe-liâng-bī Chū-jím î-sim put-chûn-k Gōan-sûi ke-hui jî tāi-sú bõh-chiong iú-hām hū tông-g² 160 chhut-khió sêng-chiang kháu 161 bõh-chiong iú-hàn hū tông-g³

293 h³ tòe h³tòe kā ka-chì beh tō beh kā hóng-chhì beh kā kian-cheng H hán-ne chin-chiat Pub KTV ê h³ tòe h³ tòe kā ka-chí

294 subplot major plot 162 double plot tōa-hoe-kioh ang-á-kè 162 William Shakespeare,

295 kiò-chiàn ê koh kài

296 Sú-Iäm-Bûn 163 Iäm-Hûn Iông-Jî 1960s Bān-chhiáⁿ ê Lí Piu chit-ê Sú Iām-hûn Sú Iām-bûn

297 chîⁿ Chhiân 164 niā-niā Kap -chiâⁿ beh h³ Chheⁿ ta ê siáu-chú Chheng-thian-pçk-j t Thong-pò-bêng-sèng Hōan-Èng-Liông Liû-bêng Hûn-Chiu-Giõk-Sèng-Jîn Lóng-lóng-khiân-khun chheng-phêng-sèi-kài ê Iah -thang tòa chit-e ê ê -chiâⁿ niā-niā 164 chîⁿchhiân chiân chhiân

298 1999 siâu chia - koh lān-sui 165 teh kā li h ê tō h³ē-tàng h³ Bē-tàng teh chãh thçh ê Nā- 165 sui lān-sui lān-pha-sui lān-sui 166 chián-kèng

299 Kám teh pē bat -- khìn-sàn bat -ì-- Bat -ì Nā Nā chhap-s t lân-hui He tō Nā Ah nā h³ - koh lān-sui Kám teh 167 sui Kám teh teh

300 liān-kì-sū 1979 Bān-chhiáⁿ Tian-t g tē-gãk chhòan bat -- Chit ko-sèng chun-bêng ê liān-khì-sū Thih-kóai Pòan-sian Gãk khah tī he Hâⁿ chà-siān gūi-kun-chú to beh chiah-ê ê chit h³ chiâu Oan-ke gî-kái put gî-kat Siáu-put-jím chek lōan -tāi-b² Hô-pit to-giân tī chit bē-tàng khãp

301 ê nā póe ê hân-m² kiú-chõk chīn-sat H giâ giâ chit ah hit niā-niāh hchit kha chit ng -put-chôan ún-ku-té-miā mā San-tiong iú-t t-chhiū sè-siōng bû-t t-jîn he teh chū-ôan kî-soeh HahⁿSoaⁿ hit --êah hit tiâu-t t --êteh he bē -thang khai-sat ê Chit teh káng-keng- thôan-tō kā ê thek 168 ê Mài Tàu-chhiú 168 thek thek that

302 bē chhiàng h³ chiâo-

303 1979 H h -- ekoh khakoh liohah tī hia Án-ne kap Ehⁿah -koh án-ne nehê kha niâah ah mā ê niâ--- beh kap nā chit-má teh Hit-ê án-ne ah khakoh ---ê niâ---hiuⁿ-îⁿ 169 tō án-ne che heheh---- kā -koh phokán-ne Che lòe + lòe 169

304 phok phok phok

305 ioh

306 chhiò-khoe-hì degradation

307 Henri Bergson, Le rire Bergson la répétition l inversion l interférence des séries Bergson le comique de mots le comique de situation Bergson

308 paronomasia 1999 pē tâng-kòe chit-ê

309 kài ê EhAh mā beh hù-sì Beh hù-chhì tō beh ē-tàng -- KiâⁿKiâⁿKiâⁿ pëhä chhoah tö chhoah chhoah sì chhì hù-sì hù-sí 1979

310 H htō neh H h Chiòng-kheng phêng-sin 170 beh toeh toeh beh kā pheng-sim he chiah-ê pek--khiā h³ hⁿhā h hⁿ ê tō khiā-- hā tō H hⁿ Ah án-nóa tō 170 pêng phêng-sinphêng

311 bān-sòe bān-soe phêng-sin pheng-sim 1970 monde renversé Bergson code-mixing borrowing of vocabulary Fasold,

312 1979 Kah ngô-bú Mài to kôan to khiû a-bú ngô-bú ke-bú ah-bú 171 ngô-bú

313 1979 che Tango chán TangoTango Ah beh kā Su-lí-pah 172 kap Khòng-bah Tango Jitterbug Su-li-pa Khòng-bah 1973a Su-lí-pah slipper

314 1979 Eiah án-ne h hⁿ ê nehei Án-chóaⁿ kā Ah nehnā kah h hⁿ sūn-sòaeⁿ-kap h hⁿh-a-p-p-y hā H-A-P-P-Y chit-ê h hⁿ hā H-A-P-P-Y Tāi-chiat-lú án-ne chiú-kóaⁿ Ah kā H-A-P-P-Y Sigmund Freud,

315 phì-siùⁿ keng-thé chiàⁿ-khau tò-siah 2001 lòng chit kán-ná bē hit jí-á kap 173 Eh --ê bái bē 173

316 Ah ê kóng koh bē lêng Ah neh Ah bē kap Ah h hⁿ khah bē leh phãihah jí-á

317 1979 bat teh neh Liõh-liõh- Tiõh hiah-nih bái báiche h hⁿsam-póneh hā nā thán phak nā thán chhiò h hⁿ ê géng-chô nā thán khi h hⁿtiõh kán-ná koh gâu kā phì-siùⁿ kā chit-má h hⁿ Ah ê tiõh tī he beh --ê ah kan-nā khoah-khoah-ûn ná kā hia--ê neh Thài chiah --ê Che-- Hi h Hi h ê tō --ê ê ê

318 1979 h³ kā lí-mē ê h It-giân lân-chīn chiong-chêng thiaⁿ-soeh tī teh ā neh tiõh h³

319 Âⁿ Ah soah h³-- Thài hôngh³+lâng-- ê chiâu hit beh h³chiâu ÂⁿLín beh chiâu h³chiâu H±án-ne Kiâⁿkiâⁿ tiõh h³ beh h³chiâu

320 huk-ziu-ing ing neingnεin 1994 láⁿ- á Hýt-Chiuⁿ-êⁿ-lāuⁿ-lâng

321 láⁿ-á nëüngnøyη 1994 nńg-á s g

322 CS647A

323 neh --ê thûi-thûi n h hām tō beh --ê beh kā he hái chia nái chio hiahah che kan-nā tō hiah khah ê -koh kap ê ê nā hiah-nih kám Nái tō ê kap bē tō n h bái-bái bē chit-má h³n h tō tō h³n h kā chit tō beh bêng-ti tō beh chit-ê Èⁿ láⁿ-á koh beh Che tō koh beh -- koh beh chit-lō mā ê tō thui kám beh mā khah khiàng Ah ah ah án-ne kā siâng --ê 176 kong-phêng kong-pêng kong-pêⁿ kong-pîⁿ

324 tō nā mā án-ne thiu-khau-á ê -- HmhÁn-ne khah n h án-ne hiah kah tú Án-ne---án-ne to---to --ê ----hmh hi-n -khih --ê Án-ne --ê --ê êlánⁿ-á he khah ---khah iah siànlánⁿ-á he khah 177 Soah hit lō Iah mā he Iah mā iah kám nò beh --êah mā mā Án-ne ah to ah bē --ê to --ê nā kā ní to koh ê beh thài Án-ne --ê chhun --êán-ne tō Án-ne kài 177

325 óa kā chia tō tō h³ Hi h nò án-ne tō Chiah-ê ah chē --ê H hⁿ Chit-má khah chē khah bē -bang 178 h³ chhun sýt-á --êchiah chē kā naih kah tú kā pē tak chhin-ḿkoh Lánⁿ-á thçh tō mē kā khah beh thçt chit He---- Ah che beh thçh hit Iah án-ne nā án-ne thçh koh hē mā bē kângkā+ tháu Tháu kā 178 -bang -thang -bang

326 bái-bái bē 1999 Hoih ài án-ne chiah thài----- neh Hmh àiche kan-nā mā chit h hⁿ

327 án-ne kā chit --ê Chit ê ùi to án-ne thûi-thûi ch t-ē --êah beh h³ h hⁿ h hⁿ tō iah chit kap hit ê Che beh nái neh To kā che siuⁿ Oh chit-má h hⁿ iah tō kah Che chiàng 179 ê 179 chiàng

328 -lâng nài --ê 1989 Taⁿ chit-ê án-chóaⁿ tī teh chiah-ê pûn kui liohoh to liahah

329 chhap Ah ah kan-nā kōaⁿ Hiông--ê ki-ki tân ah kha-chhoan 180 teh hôngh³+lâng Ah kám tō --ê teh pûn kui--ê h³ Ah soah to-beh tō --ê phok ê mā beh liah--ê phok h³liahah mā beh kap Ah án-ne beh án-chóaⁿ khóa taⁿ che teh Hmh khóa lò lioh khóa teh kap teh liah nā kā h hⁿ HmhAh mā --ê Ah kám koh lò kám kúi-ā --ê kā --ê nài --ê tō siūⁿ Nā beh nài --ê ê koh in che h h Ah -koh --ê nài --êchit-ê tēng-khong-khongbōe kah Iah tō --ê liah liahah chit --ê bē án-chóaⁿ bē mā --ê nài --êhiông--ê iah -koh liah 180 kha-chhng kha-chhoan

330 Oh he h hⁿ hôngh³+lânggiokmā Oh --ê to beh kap beh nái --ê ê Nā --ê Ah tō kā súito beh h³ To án-ne án-ne án-ne --ê tō lòe + Hâⁿ án-ne kā --ê liah Hiò-nòÁn-ne --ê Ah --ê nā kā sōan Bē tō Iah beh án-chóaⁿbeh he khiau hioh liah liah kā --ê bē liah --ê liah liah Hiò tō nā nài --ê --ê Chit-má chit-ê nài tī 181 tī hia haiⁿ haiⁿ kā bē haiⁿtī hia teh tō 183 khú 182 lū Nńg-á Nā he Nńg-á ê mā kh khú gôan-in ōang-in m²

331 ōang-in ê ê kap ê teh khah khah in --ê ê kap ê beh to beh --- sai-khia --ê kap --ê chit-má h hⁿ khah khah In --ê beh tòa he --ê kap --êhe --êchh -gâ beh --ê --êhe --ê beh tòa M² m² ê --ê kap --êtō nńg-á khah --ê --êsúi kán-ná súi hiâu-pai leh-leh nā m 184 bái kā h beh n± n±m² nńg-á iau --ê --ê --êsái chit --ê chhun --ê --ê tō kán-ná to hàu Hâⁿ soah Gêⁿ 185 GêⁿHē khokkan-nā hahⁿtō khok nńg-á tī teh --êah tī Hiông--ê tī chia tī teh thèⁿ liah 184 m 185 gêng gêⁿ

332 H teh Beh mā 186 koh koh chhiân beh tō bē chit --êhiông--ê beh --ê liah 187 beh Soah --ê kap --ê hiông--ê --ê --ê tòa --ê kap H to -- Ah chhun --ê Ah Ah tō kā Ah tú teh Ah hiòtō nńg -á án-ne h hⁿ ngāi-giõh lòng lân-san --êchông chōa m²-lò-sâi 188 M²-lò-sâi EⁿHiông--ê --ê kā che h hⁿ h htō teh M²-lò-sâi mo-no-lai m²-lò-sâi

333 --ê tō chit-má teh hahⁿhahⁿ kah khokhahⁿ kah chhèng Ah beh kā ê khang --ê H --ê án-ne hiông--ê t g ê Hâⁿ Ah tō --ê H±-h± tō He súi- kah án-ne sçh liàn hit-ê bái- -línviolin --êsúi Ah hit-lō --êhe tī teh --ê tō Ah soah ê chit-má to beh ê to beh Hà-n±Ah chit-má tú teh hahⁿ-chhit Hahⁿ kah chhèng chit-má ah tō lòng H Ah 189 Chhãp-chhãp --ê tō hàu t g --ê tō ah Án-ne h³ he án-nóa neh A---a---án-chóaⁿ ê siūⁿ sánsán koh khan-bán 190 che nā kap tō āⁿ-híⁿ Āⁿ-híⁿ --ê phiaⁿ ê 189 th -sí-lâng phiaⁿ phiaⁿ

334 khah --ê chhōe Ah nā --ê h hⁿ tō --ê niâ Hiò-n± --êah chit-má súi kám H Kám---- kám Nā h³sōan -- Ah soah kap -- án-ne tō H Án-ne to kah Ah nā án-ne súiôan-ná -chiâⁿ Nā hiuⁿ-îⁿ êtō khi-chi-nái 194 siáu--êah nā tō hiah-ê hāu-hia teh koh gâu --ê ah nā tō giok êah hit-lō --ê beh -- he beh kap hi h kah-ì tō Ah --ê --ê Nā án-ne Nā nńg-á teh pûn--ê h³ koh --ê Án-ne Kiâⁿ Pù h³

335 ê siat-kè design hông giok mā ê l interférence des séries Id Id Ego Super-ego Freud

336 hiông--ê hiông--ê hiông--ê --ê

337 hiông--ê liah hiông--ê beh --ê liah hiông--ê hióng-ê hit-ê hiông--ê hióng-ê gê jeu de langage /

338 怱 怱 hioh h hⁿ gām gām gām gāmbeh beh h³--e chhōe He --- gêngchit he hàu-k chhiⁿ-chhiⁿ-aah chit tō li h chit-má nā beh h hⁿ giâ thú --ê--êah bē ah kan-nā tī tī teh

339 kan-nā tō He teh gāmmài gāmkā mài -pē chia thekhah neh gāmah He chit-ê Ah giâ the soah teh kā hām beh -- án-ne gām khah-- khah-- khah teh khah gāmah tō khah kā h hⁿ --- gām tī chit-ê chiah teh khah gām kā h hⁿhe tī Teh Hām chit-ê gām án-ne kā lòe chiah beh hehⁿ gāmhe tō

340 gāmsoah tī hahⁿtòng-bē-tiâu Chông án-ne chhōa Khoh-l k-koaiⁿgiⁿ-koaihⁿ-sàlit-lok-chheh lit-lok-chheh 197 -nā án-ne Hām á teh ê ê âng-hēng chhut-chhiûⁿ gāmhioh beh gām---- h hⁿ he he in he --ê hàu-k tō h³mi-mi mauh-mauh 198 Án-ne gām nā hoah beh ê gām n h tòe gāmh²-oh --êchhãp-chhãp --êtō beh -pē giâ he khah --ê chit

341 gām gām Khoh-l k-kûaiⁿgiⁿ-koaikⁿ-sà lit-l k-chhehlit-l k-chheh gām he He --- he h hⁿ he he in --êchhap-chhap --ê gām gām Beh beh h³

342 --e chhōe gām Don Quixote gām hòa-chong

343 koh ê kap teh he teh kā sutkoh teh kā iãt Che óa koh kā kēng án-ne Oah Che liõh-á --ê 199 chit 200 Koh kā kah chit lō ná hit lō ah Ah chit-ê óa Chit-ê óa nái ê chit-ê chia beh chia kā chhōa chhōa

344 chia beh nái hôngh³+ chhōa Chit-ê kap hit-ê Án-ne tō che óa Ah tó ê mā kā ê Ah nái chit-lō nái -bat chit-lō Án-ne ê ê beh kā -- kā Che -bang Che chit-lō -tú- chhat nā Che tō beh ì-- -bang Án-ne láⁿ-á thçh to-beh S i tō-beh chhōa in chit-ê kā hiakā lòng tō-beh soan Kah taⁿ tòa chia hôngh³+ ì chit-ê kā hia kā kā kā HâⁿBeh ah ê Lán hia hiachhiah

345 201 OahÁn-ne Án-ne liàu chhōa Thomas Hobbes, sudden glory

346 Ei ì tō châi-ko pat-táu ê ē-tàng sam-seng iú-hēng Tāi-hãk Tiong-iông Sù-su Ng -keng œg-chiõh-kong Sam-tho Sù-liãk Sun-chú Chiàn-chhek --Tāi-hãk tō Lí-pçk hān-lîm Tāi-hãk chi-tō chāi-bêng-bêng-tek chāi-chhin-bîn chāi -chí-î chì-siān Ti-chí jî-hiō-lêng-tēng chēng an lū tek Ti-s -sian-hiō tō-chek-kīn-ì kám chek-kīn-tō-ì

347 sio-siâng teh heah-á thiaⁿ-lûi kám Ah Èⁿ--- -thang --ê tī teh bē-sái lim-nā lim --i --ê ê kā nā-beh hôngh³+ê h hⁿkā ā ham ā giô Chit lòe kúi --ê ím --- teh ---chit-ê teh hôngh³ bat teh teh --ê Hahⁿ 202 sex khah

348 --ê han-chî--ê ê ah che kā --- -thang kā nái tō-beh kā án-ne kā lín --ê soah -----kap beh kò-sî tō siuⁿ h³khà chiángchiah-nih 1973a345

349 kā ā ā sông koh

350

351 ê

352

353

354 1885 Dante Alighieri, Giobanni Boccaccio, latin grammatica

355 1592 Joachin du Belly William Wordsworth, William Shakespeare, Thomas Barclay, thang --ê

356 c

357

358 postcolonialism Frantz Fanon, delirium Fanon196860

359 1937 internal colonialism c / 2005c

360 soah h³ kiò leh ku tiàm hia-ê sô túl h h³ chit-má kài

361 -

362 Jacob Grimm Wilhelm Grimm b7

363 narrative literature -

364 2006 Paul Zumthor voix Zumthor1987

365 pp (4) (5) pp a b , a b pp a 67/ b 67/

366 (4) pp / http //ws.twl.ncku.edu.tw/hak-chia/l/lu-heng-chhiong/ke-kiam-khioh.htm ,

367 1982, 15(1) pp / () O a b (4) a b ;

368 : a 1998/3/ b () ? 436pp a b a -() b -() a () 4(1)20-27

369 1954b () 4(3) a O b O O 1954c () 5(1) pp b c , a : 145~ a b a b -- ( ) c a b a b O a e 85/1/3

370 1998b 85/1/ c 85/1/ d O a b c a b 53(3) c a b c O d a b c O O 1985 ()

371 a O b O a b c , ( ) pp a b /4/ ,

372 teh e e a 539pp b c d 538pp pp () 23/ O pp pp ( )

373 ( ) ~ Althusser, Louis Lire le Capital. Paris: P.U.F. Arnheim, Rudolf New Essays on the Psychology of Art.

374 Benjamin, Walter Illuminations. Ed. by Hannah Arendt. N.Y.: Schocken Bergson, Henri Le rire: essai sur la signification du comique. Paris: P.U.F. Bourdieu, Pierre Langage et pouvoir symbolique. Paris: Fayard Brooke, Peter The Empty Space. N. Y.: Avon Champell, William A Dictionary of the Amoy Vernacular. Chomsky, Noam Aspects of the Theory of Syntax. Cambridge, Mass.: MIT Press. Chomsky, Noam Topics in the Theory of Generative Grammar. Paris: Mouton. DeFrancis, John The Chinese Language: Fact and Fantasy. HonoluluUniversity of Hawaii Press. Derrida, Jacques De la grammatologie. Paris: Minuit Douglas & Barclay Chinese-English Dictionary of The Vernacular or Spoken of Amoy with Supplements. London: Trűbner & Co., 57 & 59 Ludgate Hill1990 Durkheim, Emile Les formes élémentaires de la vie religieuse. Paris: PUF Fanon, Frantz Black Skin, White Masks. Trans. by Charles Lam Marknann. N. Y.: Grove Weidenfeld Fasold, Ralph The Sociolinguistics of Society. Oxford: Basil Blackwell Inc. Foley, John M The theory of Oral Composition: History and Methodology. - Foley, John M Traditional oral epicthe Odyssey, Beowulf, and the Serbo-Croatian return song. Berkeley University of California Press. Foucault, Michel What Is an Author? in Contemporary Literary Criticism: Literary and Cultural Studies. 4 th ed. by Robert Con Davis, Ronald Schleifer. N. Y.: Longman Freud, Sigmund New Introductory Lectures on Psychoanalysis. James Strachey (trans. & ed.) N.Y. W. W. Norton and Company Goody, J Representations and contradictionsambivalence towards images, theatre, fiction, relics and sexuality. OxfordBlackwell. Gramsci, A Selection from the Prison Notebook. N. Y. Internationnal Pub. pp pp Gumperz, J. J Language in Social Groups. StanfordStanford University Press. Gumperz, J. J. & Hymes, D Directions in Sociolinguisticsthe ethnography of communication. OxfordBasil Blackwell Inc. Gumperz, J. J Discourse strategies. CambridgeCambridge University Press. Halbwacha, Maurice Jakobson, Roman Dialogues. Massachusetts : The MIT Press. Les cadres sociaux de la mémoire. ParisAlbin Michel Jakobson, Roman Language in Literature. Massachusetts Belknap. Kamenetsky, Christa The Brothers Grimm & Their Critics: Folktales and the Quest for Mwaning. Ohio : Ohio Universty Press Levi-Strauss, Claude Intoduction à l oeuvre de M. Mauss. Sociologie et anthropologie. Paris :