视角转换:论同人小说与原著的“对话”策略

"同人小说"历史悠久,但近来才正式得名并风靡网络,其固有品质是对前文本的颠覆和改写。为得到读者认同,作者常采取转换观察叙述视角的手段,通过强化同人作品与原著的对话,对颠覆及改写缘由做出解释。同人小说中的叙述视角转换方式包括全知视角转换为限知视角、限知视角内部互相切换、限知视角转换为半全知视角和全知视角内部的转换。这些转换方式的运用使同人作品与前文本构成或附议、或商讨、或争执的对话关系,展示了同人作者与原著作者观念上的差异及由此衍生的丰富的创作生长点。

A Plea for Commonality Without Common Points --With Reference to The Planet of the Apes

In the science fiction novel titled The Planet of the Apes （1963）, Pierre Boulle tells a story about a completely reversed world where the apes dominate the humans. Coming from the normal world that is ours, a small group of people is totally embarrassed and confused by observing this strange world. On the planet of the apes that they have discovered, it is the apes that are more intelligent than the humans. On the earth, it was the other way around. That observation results in their perplexity. The two communities, human and simian, bear with one another the relationship that corresponds to what Lotman calls ＂enantiomorphic pairings＂. In this context, a series of questions deserves to be raised： Is a ＂common language＂ possible between the two communities in the enantiomorphic pairings？ If the answer is yes, under what conditions could they succeed in opening up a space where they can have something in common？ In rereading The Planet of the Apes with reference to Lotman＇s semiotics of culture, we would like to formulate a response to those questions. Our claim is that the experience of finitude of one＇s own language can make possible an access to the new form of universality requisite for the cross-cultural communication： commonality without common points.

论作品角色与虚拟人物的著作权保护

著作权所要保护的是作者的独创表达,并根据不同的表达方式归类为所属的作品分别予以保护,有时还可以同时属于多个类型的作品。如果用显微的方式对一个作品继续细看,就会遇到一个困扰了司法实务许久的问题:一个作品当中的角色或虚拟人物是否也应获得与其所属整个作品同样的保护?如果答案是否定的,那么是否还有可能透过其他的途径(如不正当竞争等)受到保护?这个问题由于近来几宗涉及后人引用在前知名作品当中的角色来撰写所谓的“同人小说”是否构成侵权行为的案件,引发了社会各界的兴趣和讨论。本文拟对作品当中的角色与虚拟人物是否可以获得著作权保护的问题,以比较法的方式进行梳理,以期对未来的司法实践提供参考。