音节的

Semantic tone change, which uses tone change to achieve a particular semantic goal, such as the diminutive tone change that is widespread in Southern Wuyu. This kind of tone change sometimes also appears in single-syllable words, but originally is never the result of a multisyllable phrase's tone change going one step further ????

语义变调，这是指利用声调的变化来达到特定的语义目的，如南部吴语里普遍存在的"小称变调"，这种变调有时也出现在单音节词里，但从来源上讲也是多音节字组变调进一步发展的结果。

In a multisyllable word, the last syllable is always written exactly, but the preceding syllable which is not a stop is given with the fundmental tone, This writing method is called

多音节语辞的拼字中，最末节要准确之外，促音以外， e面的非促音的音节，均以主韵记出的，叫做速记拼写。如 kaohoe 的速记拼字是 kauhoe 。

The nasalization distinguishes itself in four aspects, including the nasal spreading can be bi-directional, the nasal spreading exhibits different situations between open and close syllables, vowels preceding nasal codas can not be nasalized, and postvocalic glottal stops and glides must agree with nasal onsets. The literature background is based on seven proposals, including Lin's (1992) proposal, Li's (1992) right-spreading theory, Wang's (1995) bi-directional spreading theory, Ang's (1996) downward-spreading theory, Chung's (1996) domain percolation, Ang's (2001) and Chou's (2002) OT analysis.

闽南语鼻音主要有四个特徵：闽南语鼻音扩散可以是双向的；闽南语鼻音在开音节与闭音节里呈现不同的扩散现象；鼻音化子音前的母音无法受到鼻音化；元音后喉音及滑音必须与韵首子音行形成鼻音上的和谐。

Additional problems include repetition of sounds, syllables, words and phrases, false starts and revisions, sequencing errors, word retrieval problems, run-on sentences and the excessively fast and irregular production of syllables.

其他症状还包括：语音、音节、词语和短语的重复，错误的词语开头和修正，语言先后顺序的错误，辞汇获得困难，前后文的不连贯和极端快速和不规则地发出一些音节。

The dissertation contains three chapters: Chapter One Phonetic Study On Tones and Tone Sandhis At first, the author introduces the traditional dialectological description and analysis on the tones and tone sandhis of the Shanghai dialect.

先介绍传统方言学对上海方言声调的描写与分析，再用现代语音学的方法，对上海方言的单音节声调和两类双音节连读变调的声学特性（基频F0和时长）作出描写和分析。

In the sense of word building, by starting from analyzing the interior morphemic meaning and then conducting quantitative analysis of AABB forms of different parts of speech, an conclusion is drawn: in the word building sense, AABB1 occupies a majority of AABB forms; other AABB1 forms share similar grammatical functions, and at the same time they keep the characteristics of the morphemic components.

这里既有单音节语素重叠后再加上另一个单音语素的重叠而构成的AABB_1式，也有两个双音节叠音语素的并列，同时还应包括AABB_1是一个语素的情况。

The owner of this yeard , Fouth Master Liu , was nearing seventy but was still full of triks.

&老&加在意义自足的单音节词素前实现名词的双音节化：（1）人和的老板刘四爷是已经快七十岁的人了，人老，心可不老实。

Core features are generally thought to include the repetition of sounds, syllables and single-syllable words; the vocalized and nonvocalized sound prolongation, and complete stoppages due to tense pauses, hard contacts and silent blocks.

核心症状通常被认为包括：语音、音节和单音节词的重复；出声或不出声的语音拖长；以及因为紧张性停顿、硬性过渡和无声性卡壳而造成的完全的语言阻塞。

Semantic tone change, which uses tone change to achieve a particular semantic goal, such as the diminutive tone change that is widespread in Southern Wuyu. This kind of tone change sometimes also appears in single-syllable words, but originally is never the result of a multisyllable phrase's tone change going one step further ????

语义变调，这是指利用声调的变化来达到特定的语义目的，如南部吴语里普遍存在的&小称变调&，这种变调有时也出现在单音节词里，但从来源上讲也是多音节字组变调进一步发展的结果。

Monosyllabic ones are the developing results from monosyllables to monosyllables and polysyllables. The way of their construction is flexible and diversified. We often see the type of combination, metaphor description and overlap.

复音颜色词是汉语词汇从单音节向双音节演变发展的结果，它的构成方式是灵活多样的，常见的有组合式、比喻式、形容式、重叠式等。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。