С точки зрения Сиўю Киллинглей (Siew-Yue Killingley, 高小諭 Göu Sĩujyù), в кантонском существует всего пять фонологически значимых тонов, а низкий восходящий тон (˨˧, тон 5 по традиционной номенклатуре) является лишь аллофоном.
У меня нет доступа к её работе 1985 года «A New Look at Cantonese Tones: Five or Six?», но вот что пишет сама автор в «Cantonese» из серии «Languages of the world», (Lincom Europa, 1993; по техническим причинам я слегка изменил способ записи тонов в цитате):
Цитата:Although my proposal to review the six-tone theory was welcomed by Kwok (1986) and Egerod (1987), neither fully understood that the basis of the proposal was that just five tonal distinctions were neccessary to distinguish meaning, and that the differences in actual tone contours between Malayan Cantonese and Hong Kong Cantonese/Mainland Cantonese in certain words are accommodated in my discussion of tone space (Killingley 1985: 25-27). It does not matter that many monosyllabic words in Hong Kong/Mainland Cantonese have the LR contour where Malayan Cantonese often has ML one (e.g., [nei˨˧] [nei˧] 'you'). Since there is no possible syllable [nei] with a HR contour in either of these accents and no possible citation syllable [nei] with a ML contour in the Hong Kong/Mainland Cantonese accent, even a citation syllable (let alone one in speech) with either HR, ML or LR will be interpreted across accents as the word 'you'. Likewise, Kwok's examples of distinctive LR in polysyllables are also unproblematical. In her pair [lou˨˧ fu˧˥] 'tiger' (i.e., made up of the morphemes for 'old' and 'tiger') and [lou˨˧ fu˨˧] 'old woman' (i.e. made up of the morphemes for 'old' and 'married woman'), the corresponding Malayan Cantonese words would use either a LR or ML contour where Hong Kong/Mainland Cantonese only has a LR contour. Lexical constraints do not permit the occurence of the above morpheme for 'old' ([lou˨˧] or [lou˧]) to occur with the word [fu˧] 'trousers', the phrase for 'old trousers' being [gau˨˧ fu˧] or [gau˧ fu˧] in the two accents. Thus, because there is no possible form *[lou˨˧ fu˧] or *[lou˧ fu˧] with the meaning 'old trousers' in either of the accents, the distinctive contrast for the two-syllable words to maintain in order to give the contrastive meanings 'tiger; old woman' is between HR and non-H, i.e. either M or L, not between HR and LR. Indeed, we could go even further and mark just four tones as there would be little likehood of the LL and VLL tones being contrastive in word compounds or phrases in speech, since pitch is relative, not absolute. If we marked H, R, M, L, it would probably be sufficent to distinguish meaning in context, but in keeping with setting up tonemes in lexical isolates, we shall mark five lexical tones. Using one tone as an abstraction (be it LR or ML) to represent the two contours is analogous to the use of the letter s in German to represent two pronounciation. It does not matter that Sie is pronounced [zi] in Berlin but [si] in Garmisch, as in each case the word means 'you'.
Таким образом, она приходит к системе из 5 тонов:
分 /fan˥/
fan1 'разделять' HL (высокий ровный) тон, с HF (высоким падающим) вариантом
粉 /fan˦˥/
fan2 'порошок, пудра' HR (высокий восходящий) тон
瞓 /fan˧/
fan3 'спать' ML (средний ровный) тон
份 /fan˨/
fan4 'доля, часть' LL (низкий ровный) тон — тон 6 в традиционной классификации
墳 /fan˩/
fan5 'могила' VLL (сверхнизкий ровный) тон, с VLF (сверхнизким падающим) вариантом — тон 4 в традиционной классификации
Сиўю Киллинглей заявляет, что 憤 [fan˨˧] 'гневаться' не встречается как слово само по себе и потому различие между 憤 [fan˨˧] и другими слогами не является фонематичным. 憤 по её мнению не является самостоятельной единицей, которую следует рассматривать. А в многосложном же слове 憤怒 'гнев' [fan˨˧ nou˨] является вариантом произношения наряду с [fan˦˥ nou˨] — таким образом, она выделяла в 憤怒 второй тон.
Хотя такой подход не стал обещпринятым, он позволяет объяснить, например, вариации 試 sî~sí и 戀 lyũn~lyún. См. также
тему про 豬乸 (zyünáa~zyünãa).
Это не единственное отступление Сиўю Киллинглей от традиционной системы: в частности, она выделяет в кантонском нейтральный тон (貓嘅尾 maaw1ga mey3 [традиционно mäau gê méi], но 係貓嘅 hay4 maaw1ge3 [hài mäau gê]). Она описывает его так:
Цитата:In addition, it is also customary to list an additional tone, viz., the neutral tone. This should again be treated as an abstraction rather than a tone with a particular pitch. It simply means that whereas the majority of syllables have an inherent tone, certain other syllables, though cited in dictionaries with an inherent tone, in fact accomodate their pitch very markedly to the surrounding context (in particular, the adjacent syllables) and can be described as toneless or neutral. Thus weak forms accomodate themselves to adjacent syllables whereas clause and sentence particles accomodate themselves to clause or sentence intonation. Their inherent tone is thus neutralised.
Сообщение: #11
