摘要
晚清外交官陈季同与其前法国教师蒙弟翁曾对《中国人自画像》与《中国人的戏剧》二书的著作权发生过争议。学界目前给出的结论是“合作”,以陈季同为主撰,蒙弟翁从旁协助。关于蒙弟翁其人,有甚多谜团待解。但他不是陈季同的私人秘书,也非驻德使馆随员,而是一个职业间谍。蒙弟翁是二书的真正作者,这从它们的表达风格、对汉学家的大量抄袭、书写策略与蒙弟翁自述的吻合,皆可得证。陈季同与蒙弟翁“合作”的模式,为前者从媒体获得“订单”,后者为之捉刀,复制欧洲传统的“中国书简”的成功模式,蒙蔽读者,从中博取名利。学界对陈、蒙二人著作权争议的误判,源于缺乏对当时文献的广泛研读,忽略文本细读比对,以及对历史人物的预设过于理想化。
Chen Jitong,the diplomat of the late Qing dynasty,and Mondion,his former French tutor,had a dispute over the copyrights of the two books:Les Chinois peints par eux-memes and Le Theatre des Chinois.The current conclusion given by the academics is“collaboration”,with Chen being the chief author,assisted by Mondion.Concerning the latter,there are many mysteries yet to be revealed.However,it can be confirmed that he was not Chen Jitongs private secretary,nor was he an attachéof the Chinese embassy in Germany,but a professional spy.Mondion is the real author of these two books,evidenced by the writing style,the extensive plagiarism of the sinologists,and the coincidence between the writing strategies and Mondions own confession.The real collaboration model between Chen Jitong and Mondion is for the former to obtain“orders”from the media,and the latter to do the writing,following the successful way of the traditional European“Chinese letters”,hence deceiving readers and gaining fame and fortune from it.The present academic misjudgment of the copyright dispute between Chen and Mondion stems from the lack of extensive study of the literature at that time,the neglect of careful reading and comparison of texts of the two works,and the idealization of Chen Jitong's social image.
出处
《文史哲》
北大核心
2025年第1期25-38,165,共15页
Literature,History,and Philosophy
基金
国家社科基金项目“本土视域下的近代中西文学关系研究(1840-1898)”(19BWW019)的阶段性成果。
作者简介
尹德翔,宁波大学人文与传媒学院、中国古典学研究院教授(浙江宁波315211);英格马·奥特森,瑞典隆德大学语言与文学研究中心教授。
