摘要
中国在思想的社会公有方面有着深厚的历史传统,这一传统将专注于中国文学理论研究的学者置于一个特殊的位置,使他们能够批评性地反思当前在思想、信息、知识领域中出现的令人警觉的私密化趋势。这一趋势受欧美软件业、娱乐业和制药行业的驱使;在欧美发动的反对信息共享的运动中,中国已经成为主要的攻击目标之一。本文专门探讨欧洲现代文学理论在这一趋势中所扮演的角色。事实上,版权法和专利法的核心是分别称为"作者身份"和"发明"的个人主义创造模式,这一模式是由法律从文学理论中继承而来,具体而言,是从我们所接受的欧洲浪漫主义理论体系中继承而来的。在随着结构主义和后结构主义而兴起的文学研究中,这种个人主义视角已经让位于更加集体化的创造模式,但这一点却无法因应法律。本文审视了浪漫派的修辞技巧如何操纵当今的版权问题以形成诸如代写者、剽窃者、盗版者之类的"创作他者",旨在引领研究中国文学理论的学者去关注越来越高涨的专注于知识产权历史和理论的国际性研究合作。
China＇s rich history of communal ownership of ideas places scholars specializing in Chinese literary theory in a unique position to reflect critically on today＇s alarming trend toward privatization in the sphere of ideas, information and knowledge. This trend is being driven by U. S. and E.U. software, entertainment and pharmaceutical industries, and China is today one of the chief targets of their campaign against information sharing. This modern European literary theory has played in this trend. At the essay focuses on the role that center of copyright and patent law is an individualistic model of creativity-termed ＂authorship＂ and ＂invention,＂ respectively-which the law has inherited from literary theory, specifically, the body of theory that has come down to us from European Romanticism. In literary studies in the wake of structuralism and poststructuralism this individualistic vision has been giving way to more collaborative models of creative activity, but the same cannot be said for the law. The essay examines how Romantic rhetoric operates in present-day copyright to construct authorial ＂others＂ such as the hack, the plagiarist, and the pirate. The larger aim of the essay is to draw scholars specializing in Chinese literary theory into a growing international research collaborative devoted to the history and theory of intellectual property.
出处
《外国文学研究》
CSSCI
北大核心
2008年第4期140-154,共15页
Foreign Literature Studies
关键词
作者身份
合作
版权法
创造力
天才
独创性
authorship collaboration copyright law creativity genius originality
