本論文以 Halliday 的系統功能語言為研究架構，透過語篇章和人際層面，來分析英語actually的語篇和人際功能與其漢語翻譯的影響。筆者以來自10個美國電視節目200筆包含actually的言語與其漢語翻譯字幕為語料。首先，我們以語篇純理功能的主述結構來區分actually在句首、句尾和句內位置的不同功能，再進一步分析語篇功能之信息結構，與人際功能之語氣如何影響句內actually中翻譯，為表達反預期態度之篇章標記或強調真實性之狀語強化詞。再者，分析發話者用句首和句尾actually以針對自己或受話者之預期如何影響其漢語翻譯。最後，筆者將論文之研究結果應用於教學中，以提供對漢語教材之建議。

首先，筆者透過系統功能語言之人際純理功能，分析命題之語氣與獨立性是否影響句內actually表達反預期態度之功能，並將其翻譯分為篇章標記或狀語強化詞。根據語料分析結果顯示，位於陳述語氣的actually翻譯為「其實」或其他反預期篇章標記之筆數最高。位於疑問語氣之actually雖然能表達反預期功能，但譯為「真的」或其他求取真實信息之狀語強化詞之筆數比最高。位於非獨立性的子句，因為缺少語氣成分，所以翻譯為「真的」或類似強調真實性之狀語強化詞之筆數最高。根據以上結果可知，位於表示陳述語氣之獨立子句的actually表達反預期態度之比例最高。

其次，筆者透過語篇純理功能之信息結構來分析語調中，表示重音突出成分之位置是否能影響句內actually表現為狀語強化詞或反預期標記。結果顯示，當actually表示重音突出的時候，將翻譯為強調小句真實性的狀語強化詞，如「真的」，並隱含真相與表象的對比關係。當actually非表示重音突出的時候，將指出小句的信息焦點與篇章中相關的舊信息或預期之對比關係，而翻譯為反預期標記，如「其實」。

再者，筆者針對位於句首和句尾的actually，分析發話者用actually以針對自己或他人之預期是否能影響其漢語翻譯。結果顯示，針對受話者的預期翻譯為「其實」或其他表達反預期的篇章標記之筆數最高，而針對自己翻譯為「事實上」之筆數更高。因此，筆者主張，當發話者以actually表示對自己的預期的時候，翻譯者宜將其視為進一步闡述的標記，並翻譯為「事實上」，而非反預期標記。反之，當受話者以actually作為斷言時，較適合翻譯為「其實」，視為反預期標記或是降低面子威脅的緩調詞。

最後，筆者提供對與漢語教材之教學建議。筆者分析兩個對外漢語教材系列 – Far East Everyday Chinese 和 Practical Audio-Visual Chinese – 來找出其對與漢語之「其實」和「真的」之解釋，並發現兩個系列對於該詞非包含任何語篇或人際功能之說明，也缺少足夠的例句或練習之部分。因此，筆者建議，未來的對外漢語教材宜少依賴英語近義詞，而多重視漢語生詞之語篇和人際功能，好讓學生知道在何種語境下與日常生活的各種情況下，如何適當地應用。

This research studies the English adverb actually, analyzing it through textual and interpersonal structures adopted from Halliday’s Systemic Functional Grammar to uncover their influence on actually’s functions and Mandarin translations. Specifically, we discuss how mood and intonation can influence actually’s interpretation as an adverbial emphasizer, reinforcing truth-values of the clause or a part of the clause, or a discourse marker, denying a previously stated proposition or implied assumption in favour of a new truth, in addition to conveying surprising or potentially face-threatening information. We also review two widely-used Mandarin textbooks - Far East Everyday Chinese and Practical Audio-Visual Chinese - to discuss their handling of the two Mandarin words most often translated from actually - qishi (其實) and zhende (真的) - and offer suggestions for how these textbooks could more appropriately describe their multiple functions.

Our data consists of 200 instances of the term actually sourced from 10 American television shows available on the streaming service Netflix at the time of writing. For each occurrence of actually the author collected the original English and corresponding Mandarin subtitles, as well as recorded audio of the utterance including actually and any other contextually relevant linguistic information.

First discussing mood, we find that actually belonging to a free declarative clause has the highest chance to translate to qishi or other Mandarin terms conveying counter-expectation. When actually appears within an interrogative clause, there is a higher chance for it to translate to terms such as zhende, reflecting the speaker’s request for truth against false appearances. Finally, when appearing in a bound clause, actually almost always lacked speaker attitude, translating to terms such as zhende, reinforcing the truth-value of the clause.

Then discussing intonation, we find that when actually itself holds tonic prominence and therefore contrast focus, it realizes a contrast relationship between truth-values belonging to the following given information, translating to terms which reinforce truth such as zhende. When actually does not hold tonic prominence, it instead functions to highlight a contrast between the following new information and some given information, assertion or assumption from the text, translating to discourse markers such as qishi.

Finally, we discuss initial and final-position actually as a discourse marker, analyzing its contrast direction. We find that when initial and final-position actually links to a clause created by the speaker herself, actually has a higher tendency to translate to shishishang (事實上), a term often seen as an elaboration marker. When actually links to an assertion made by the listener, it often translated to qishi, which tends to be viewed as a counter-expectation marker or face-threat mitigator.
Offering pedagogical implications, we note that both textbooks Far East Everyday Chinese and Practical Audio-Visual Chinese do not include adequate functional explanations for neither qishi nor zhende, giving our opinion that textbooks should both offer more detailed, useful and socially-oriented functional explanations for such terms, as well as rely less on English synonyms, which we argue due more harm than good.

English Works Cited:
Aijmer, K. (2002). English Discourse Particles: Evidence from a Corpus. John Benjamins Publishing.

Aijmer, K. (2015). Analysing Discourse Markers in Spoken Corpora: Actually as a Case Study. Corpora and Discourse Studies, 88-109.

Biq, Yong O. (1988). From Focus in Proposition to Focus in Speech Situation: Cai and Jiu in Mandarin Chinese. Journal of Chinese Linguistics. 16.1: 72-108

Biq, Yong O. (1989). Ye as Manifested on Three Discourse Planes: Polysemy or Abstraction. Functionalism & Chinese Grammar, edited by James H-Y. Tai & Frank F. S. Hsueh, 1-18. South Orange, NJ: Chinese Language Teachers Association.

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Halliday, M. A. K., & Hasan, R. (1987). Cohesion in English. London: Longman.

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Wang, Y.-F., Goodman, D., Chen, S.-Y., & Hsiao, Y.-H. (2010). Making claims and counterclaims through factuality: The uses of Mandarin Chinese qishi (‘actually’) and shishishang (‘in fact’) in institutional settings. Discourse Studies, 13(2), 235–262.

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Chinese Works Cited:

游雅欣 (2016)，《漢語「其實」和「事實上」的語義、篇章分析與教學啟示》台北

胡壮麟、朱永生、张德禄、李战子 (2008)，《系統功能語言概論》，北京：北京大學出版社

張莉萍 (2015)，《現代漢語情態副詞的語用分析──以語料庫中的「其實」一詞論述》台北：臺灣漢語教學研究

Television Shows Cited:

Ansari, A., Yang, A., Schur, M., Becky, D., Miner, D. (Executive Producer). (2015-2017). Master of None [TV Series]. Alan Yang Pictures, Oh Brudder Productions, Fremulon, 3 Arts Entertainment, Universal Television.

Bays, C., Thomas, C., Greenberg, R., Fryman, P., Heisler, E., Heline, D., Lord, P., Malins, G., Miller, C., Harris, C., Lloyd, S., Kang, K., Rhonheimer, J., Tatham, C. (Executive Producers). (2005-2014). How I Met Your Mother [TV Series]. Bays & Thomas Productions, 20th Century Fox Television.

Collin, D., Williams, M., Eric, R., Lane, J., Sher, A., Hochman, J., Eilenberg, D., George, D. (Executive Producers). (2018-Present). Queer Eye [TV Series]. Scout Productions. ITV Entertainment.

Craven, W., DiSanto, T., Gateley, L., Maddalena, M., Konrad, C., Blotevogel, J., Paglia, J., Weinstein, B., Weinstein, H. (Executive Producers). (2015-Present). Scream [TV Series]. Signpost Up Ahead, DiGa Vision, Dimension Television, MTV Production Development, The Weinstein Company.

Goor, D., Schur, M., Miner, D., Lord, P., Miller, C., Tredici, L., Phillips, D. (Executive Producers). (2013-Present). Brooklyn 99 [TV Series]. Fremulon, Dr. Goor Productions, 3 Arts Entertainment, Universal Television.

Kohan, J., Hess, S., Herrmann, T., Vinnecour, L., Tannenbaum, N.K. (Executive Producer). (2013-2019). Orange is the New Black [TV Series]. Tilted Productions, Lionsgate Television.

Levitan, S., Lloyd, C., Morton, J., Corrigan, P., O’Shannon, D., Walsh, B., Zuker, D., Wrubel, B., Richman, J., Higginbotham, A., Lloyd, S., Ko, E., Tatham, C., Chandrasekaran, V., Pollack, J., Burditt, J. (Executive Producers). (2009-2020). Modern Family [TV Series]. Lloyd-Levitan Productions (2009-2012), Picador Productions, Steven Levitan Productions, 20th Century Fox Television.

Schur, M., Miner, D., Sackett, M., Goddard, D. (Executive Producers). (2016-2020). The Good Place [TV Series]. Fremulon, 3 Arts Entertainment, Universal Television.
Yacenda, T., Perrault, D., Lagana, D., Farrell, J., Lubet, A., Lieberman, J., Rotenberg, M. (Executive Producers). (2017-2018). American Vandal [TV Series]. Woodhead Entertainment, One Man Canoe, 3 Arts Entertainment, Funny or Die, CBS Television Studios.

Waksberg, R.B., Bright, N., Cohen, S., Fetter, B., Wiseman, J., Arnett, W., Paul, A., Weil, A. (Executive Producers). (2014-2020). Bojack Horseman [TV Series]. Tornante Television, Boxer vs. Raptor, ShadowMachine.

Textbooks Cited

Yeh. (2014). Far East everyday Chinese. Taipei: Far Eastern Book.

Chen, Y., Wang, S., & Lu, C. (2008). Practical audio-visual Chinese. Taipei: Zhengzhong shuju.