反切研究是個古老的課題，當代音韻學者研究反切，大多從「語音史」的角 度著眼，將反切定位為客觀標記語音的符號，並透過「繫聯法」或「比較法」歸 納古音音類、觀察音類間的歷時分合關係。本文旨在考察明代等韻家所提出之反 切改良方案，以桑紹良《青郊雜著》（1581）、呂坤《交泰韻》（1603）、金尼閣《西 儒耳目資》（1626）三家所創製之切語用字為考察對象，但卻不再將重點放在音類 考究與音值擬測上，轉而從設計的角度著眼，改採「音韻思想史」的路徑，試圖 站在切語設計者的立場思考，剖析影響切語用字選擇的制約條件及其排列順序， 藉以凸顯不同反切改良方案之差異所在，並闡釋其中所蘊含之設計理念。 本文從兩個層面進行論述：首先，參考唐納‧諾曼（Donald A. Norman）的「情 感化設計」理論，分別從「本能層次」、「行為層次」、「反思層次」（reflective level） 三方面，發掘可能影響切語用字的制約條件，特別留心：明清等韻家創製切語時， 除了考量如何使切語更能切合現實語音、更易於識別與拼切之外，是否還進一步 考慮到「反思層次」的制約—即等韻家個人之音學思想是否對切語用字之選擇造 成影響。其次，借用「優選論」（Optimality Theory）的操作模式，試著調整各種制約條件之等級順序，以形式化的直觀方式，展現各家反切改良方案之歧異所在， 並解釋明清反切改良方案為何如此多種多樣。冀望透過本文之研究，不僅能進一 步釐清反切標音法的改良歷程，更能深入瞭解明清等韻家對音韻結構及語音生成 模式的認知。

The Fanqie phonological system is an old subject. Modern-day phonology experts look at it from the standpoint of speech sound history and regard it as objective speech sound symbols. The method of systematic integration or comparison sums up the ancient pitch classes, as well as examines their historical connections. The purpose of this article is to construct a phonology improvement plan based on a thorough examination of the phonology experts in Ming Dynasty particularly the phonetic notations constructed by Qingjiauzazhu 青郊雜著（1581）、Jiautaiyun 交泰韻（1603）、 Xiruermuzi 西儒耳目資（1626）. However, the emphasis shall not lie in the study of pitch class and measurement of phonetic value. Instead, the research shall take the standpoint of design in tracing the history of phonology concepts and analyze the effects of the constraints and permutation sequences of phonetic notations from the perspective of phonetic notation designers. By doing so, the research shall be able to highlight the discrepancies in various Fanqie improvement plans and clearly explain the design concepts contained in each of them. The discussions in this article consist of two tiers. First, the emotional design theory promoted by Donald A. Norman is divided into visceral, behavioral and reflective levels for the sake of digging up constraints that are capable of effecting phonetic notations. Particular emphasis shall be given to whether or not the phonology experts of the Ming and Qing dynasties proceeded to take into account the reflective level of constraints besides identifying how their notations could suit actual speech sounds and how they could easily be distinguished and assembled. Also, this paper shall determine how the individual acoustic ideas of the experts influence the selection of phonetic notations. The second of two tiers is the use of Optimality Theory. This particular model is borrowed for the purpose of adjusting the rank sequence of each type of constraint. A formal and direct method will be used to present the differences in the Fan Qie improvement plan of various parties, and also to explain why there were numerous kinds of Fanqie improvement plans during the Ming and Qing dynasties. Apart from defining clearly the progress in improving Fanqie symbols, the researcher also hopes to understand more deeply how the phonology experts in the Ming and Qing dynasties recognized the phonological structure and generative pronunciations.

反切;等韻;音韻思想史;情感化設計

Fanqie 反切;Dengyun 等韻;history of phonological thought;emotional design