陈季同《中国人的戏剧》的抄袭问题  

On the Plagiarism in Chen Jitong's The Chinese Theatre

作　　者：尹德翔 YIN De-xiang

机构地区：[1]宁波大学古典学研究院,宁波315200

出　　处：《北方论丛》2024年第1期80-93,共14页The Northern Forum

基　　金：2019年度国家社科基金一般项目“本土视域下的近代中西文学关系研究(1840-1898)”(19BWW019)。

摘　　要：关于陈季同的《中国人的戏剧》,法国知名评论家布吕纳季耶曾表示过许多怀疑。实际上,这部书引用的所有戏文,皆从法国汉学家巴赞和儒莲的译作中抄录而来;许多论述,也直接或间接抄袭了巴赞和德庇时等汉学家。从抄袭过程中出现的错误,可判断这部书的作者并非陈季同,而是他的法文老师蒙弟翁。《中国人的戏剧》所使用的叙述策略,与蒙弟翁《当我还是清朝官员时》的自述吻合,其“巴黎化”的文字、虚浮空洞的文风,亦符合蒙弟翁的情况。《中国人的戏剧》是一部假冒的作品,但它把汉学家的工作推向大众,客观上参与了中国文学在西方世界的传播。The famous French critic Ferdinand Brunetiere expressed much doubt about Chen Jitong's The Chinese Theatre.In fact,all the plays quoted in this book are copied from the translations of French sinologists Bazin Ainéand Stanislas Julien,and many of the expositions are also directly or indirectly copied from the sinologists such as Bazin Aine and J.F.Davis.From the mis-takes made in the plagiarism process,it can be concluded that the author of this book is not Chen Jitong,but his French teacher A.Foucault de Mondion.The narrative strategy used in The Chinese Theatre is in line with Mondion's self-narration in When I Was a Qing dynasty official,and its"Parisianized"language and vapid and empty style of writing also suit Foucault de Mondion's circum-stances.The Chinese Theatre is a counterfeit work,but it has contributed to promoting the work of sinologists to the Western public,and thus helped in the spread of Chinese literature in the Western world.

关 键 词：《中国人的戏剧》 陈季同 蒙弟翁 布吕纳季耶 巴赞 

分 类 号：J809.2[艺术—戏剧戏曲] H32[语言文字—法语] I046[文学—文学理论] K252[历史地理—历史学]