The same chinese transliteration sounds very different in mandarin , fujianese , cantonese , etc and each will evolve over time 同样的中文音译用北京话、福建话、广东话等等念起来都很不一样，并且每一种念法都会随着岁月而演变。
However , in beijing dialect , this tone sandhi , which often takes place in less solemn language environment , involves only a small number of reduplicated adjecfives 这种变调源于北京话，但是北京话里也只有少数叠音形容词变调，而且这一部分可变调的词在庄重的语境里也不应变调。
In order to understand the status of the passive " gei " construction in beijing dialect , this paper analyses the usages of all the marked passive constructions in narration and conversation of some contemporary novels 本文以定量的方式考察北京话中有标记被动句的使用情况,进而了解“给”字被动句在当代北京话中的地位。
" hongloumeng " " qiludeng " " rulinwaishi " which were simultaneously written in mid - eighteen century are considered as the representative works of dialects in beijing , central plains and southeastern region 摘要《红楼梦》 、 《歧路灯》和《儒林外史》三部小说同时创作于十八世纪中叶，它们的语言分别代表了当时的北京话，中原官话和江淮官话。
The paper also examines the development of the passive " gei " construction in beijing dialect , and finds that the passive preposition " gei " is a result of gradual grammaticalization as activated by the passive auxiliary " gei " in the constructions " passive mark + np + gei + vp " and " gei + vp " 文章还考察了“给”字被动用法的历史发展及其内在制约因素,认为北京话中的介词“给”是在助词“给”的诱导下逐步发展出被动用法的。
We can solve the question of the source of the tune sandhi on the character " one " through the comparison with the tones of " rhyme and rhythm of the central plains " and the interchangeability in modem pekingese , and find a position for this kind of interchangeability in the orders of tone sandhi 通过与《中原音韵》声调和现代汉语北京话变调的比较，我们可以解决“一”字变调的来源问题，同时在变调的序列里为这种通假找到一个位置。
