誰的文學？誰的產權？——日治台灣報刊雜誌刊載中國文學之現象研探

Abstract

本文討論日治台灣報刊雜誌刊載中國文學之現象，當時選擇哪些了哪些文本？選刊的文本又以何種面貌呈現？文學作品的再次轉刊及改寫可視為一個「文化跨越過程」，在這一過程中存在大量的文化適應、選擇、保留、淘汰等現象，從刊載改寫敘述的角度來看，編者需做出許多選擇與處理，以適應不同國度下的政治、文化需求，甚至是休閒娛樂的商業考量。中國文學被轉錄報刊時除了少數原汁原味保留外，多數做了變更，其變更形式除了篇幅增刪、情節前後挪動外，本文著意討論以下數種方式：改立題目、竄改作者姓名及原作的內容文字。改易篇名的方式，或另以小說中人物命篇，或取原文首句為篇名，或根據內容大意。竄改作者姓名則形成抄襲、冒名之嫌，更動原文情形又有數種策略：省略故事來源的敘述者，人名、地名、年代之更易或省略，合題材相近之數篇為一篇等等。追索原出處及所做之變造，可據以判斷文本來源及理解刊載用意，並進一步連結近代東亞各國報刊的流動現象，俾得客觀詮釋日治台灣文學。

This essay focuses on the phenomenon of Chinese literature in Taiwanese magazine or newspaper under Japanese rule. Which texts were chosen for reproduction? In which way were those texts reprinted? The reproduction of literature can be regarded as a process of culture transformation, including mutual adaptation, selection, preservation and elimination of different aspects of both cultures. From the viewpoint of the editor, he or she has to make many decisions in the process of reproduction because he or she has to take into consideration the politics and culture of a different country, and even commercial or entertainment factors. Chinese literature, when it was to be reprinted, thus went through plenty of changes. Besides addition, abbreviation and changes of plot, this essay focuses on the following forms of change: (i) change of heading, (ii) change of the name of the author and (iii) change of the wording in main text. First of all, in changing the heading, it may be based on the name of the protagonist, the first sentence of the text or the main theme of the story. Secondly, in changing the name of author, problems of imposture and plagiarism arises. Thirdly, in changing the wording in the main text, it may omit the narrator of the story, names of the characters in the story, where and when the story happens or even combine several stories which share similar topics. Tracing the origin of these stories and the changes they went through in the process of reproduction can help us get some insights into the underlying thought of the editors and finally construct a framework or structure which exhibits the interaction of literature among countries in East Asia. Only under this framework can we interpret Taiwanese literature more precisely and correct the mistakes made by much recent academic research in this field.