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//]]></script> <script type="text/javascript" src="http://103.249.53.35/gate/big5/afpmm.alicdn.com/g/mm/afp-cdn/JS/k.js@OldUrl;@JS;http://culture.taiwan.cn/spot/201708/t20170821_11833169.htm_.js"></script>  </div>  <div id="tw_artmain"> <div class="tw_place"><a href="http://103.249.53.35/" target="_self">台灣網</a> > <a href="http://103.249.53.35/gate/big5/culture.taiwan.cn/" target="_self" title="兩岸文化" class="CurrChnlCls">兩岸文化</a> > <a href="http://103.249.53.35/gate/big5/culture.taiwan.cn/spot/" target="_self" title="資訊" class="CurrChnlCls">資訊</a></div> <h1 class="art_tit">評論：網路文學創作的“借鑒”必須有邊界</h1> <div class="art_time">2017年08月21日 09:52:49 來源：光明日報 <div class="art_font"><div style="float:left;margin-top:-6px;">  <div class="bdsharebuttonbox"><a href="#" class="bds_more" data-cmd="more"></a><a href="#" class="bds_qzone" data-cmd="qzone" title="分享到QQ空間"></a><a href="#" class="bds_tsina" data-cmd="tsina" title="分享到新浪微博"></a><a href="#" class="bds_tqq" data-cmd="tqq" title="分享到騰訊微博"></a><a href="#" class="bds_renren" data-cmd="renren" title="分享到人人網"></a><a href="#" class="bds_weixin" data-cmd="weixin" title="分享到微信"></a></div> <script>window._bd_share_config={"common":{"bdSnsKey":{},"bdText":"","bdMini":"2","bdMiniList":false,"bdPic":"","bdStyle":"0","bdSize":"16"},"share":{}};with(document)0[(getElementsByTagName('head')[0]||body).appendChild(createElement('script')).src='http://103.249.53.35/gate/big5/bdimg.share.baidu.com/static/api/js/share.js?v=89860593.js?cdnversion='+~(-new Date()/36e5)];</script>  </div><div style="float:left;"><a href="javascript:window.print();"><img src="http://ats.taiwan.cn/images/jingmao_34.gif" align="top" /></a>字號：<a href="javascript:void(0);" class="smallFont">小</a> <a href="javascript:void(0);" class="medFont">中</a> <a href="javascript:void(0);" class="largeFont">大</a></div></div> </div> <div class="art_con left"> <div class="art_txt fontsizebox"> <div class=TRS_Editor><p align="justify">　　網路文學創作的“借鑒”必須有邊界</p> <p align="justify">　　從幾年前熱播的電視劇《甄嬛傳》《宮鎖連城》，到近期上映的電影《三生三世十里桃花》，這些作品的小說原著涉嫌抄襲的爭議一次次掀起波瀾。在喧嘩與騷動之外，我們必須注意和反思這一現象。這不僅僅是一兩部書、三五個人的私人恩怨，它所牽連的領域關涉網路文學歷史和發展的客觀認知、寫作倫理、法律法規、商業利益、道德規範、學術研究等問題。</p> <p align="justify">　　“想像共同體”是網路文學早期的創作特點。在榕樹下、清韻書院等平臺上，早期的網路作者們常常會因文友的關係，圍繞一個共同的“梗”遊戲式地同時開筆。像“九州”“雲荒大陸”等設計，更是出自一些曾經志同道合的網文寫作者的集群，大家一起從傳統神話典籍中拈出一個概念，發展設定為他們奇幻想像的宇宙、世界，然後各盡所能地創造人物、故事，並常常有所交叉，即構成了一個“想像共同體”。即便是這樣的創作，依舊被讀者挑剔過“抄襲”，而當事人大多不以為意。</p> <p align="justify">　　更多坐實的抄襲發生在另一個網路文學的常態特徵中，那就是“讀者即作者”。一些某個類型、某位作家的粉絲按捺不住創作的衝動，開始變身為作者，在寫作過程中，往往被讀者發現有拷貝他人小說的文字段落及模倣人設劇情的確鑿罪證，這就是過往“抄襲”公案的主要來源。遇到這種情況，以前是用創作倫理和道德譴責的方式，現在則屢屢對簿公堂討說法。</p> <p align="justify">　　僅從學術研究的角度看，網路文學曾經得益於模倣式的大量創作，這一創作思維觸發的是人類文藝創作經驗中的常態。比如，有人說金庸模倣大仲馬是抄襲，那金庸一定會坦率承認自己就是大仲馬的粉絲，借鑒了他。所以，我們今天反抄襲，並不是反掉一切借鑒、模倣，那樣就會如魯迅所言，是把洗澡水和孩子一起倒掉了。</p> <p align="justify">　　但另一方面，抄襲一定是禁忌、錯誤，是于情于理都不恰當的行為。綜合地來看，文學創作的借鑒和模倣是有邊界、方法的，以偷竊為樂事，以非法獲利沾沾自喜，理應在網文界內部以及整個社會的智慧財產權保護環境中引起足夠警惕，不斷完善懲治措施，給予必要的輿論甚至法律裁判。</p> <p align="justify">　　為此，在網路文學影響力和產業價值擴大的今天，創作者顯然不應將寫作僅僅看成是經濟效益的奴僕。網文寫作更應具備原創意識、法律意識、責任意識、精品意識。網文作者不能一方面抱怨主流社會不夠重視、消極看待，另一方面又將自己流落為賺錢工具和道德、法律的重災區。</p> <p align="justify">　　隨著網路文學作為IP(智慧財產權)向下游不斷改編、輸出為影視動漫遊戲等產品，各方面都應該把好原創關，對涉嫌抄襲、確認抄襲的作品說“不”。這不是網文界一家一戶的事，而是大的業態需要共同沉澱為共識，需要協同伸張的商業倫理和行業精神，目的在於凈化中國智慧財產權環境，在全球化語境中樹立“中國製造”“中國創造”良好的形象。</p> <p align="justify">　　在裁判網路文學“抄襲”案的時候，進一步普及網路文學發展史，考慮其當時創作語境和抄襲的種類特點，不盲從，也不姑息。尤其是對一些因為商業利益擴大甚至資本炒作在背後起作用的情況，要給予詳細研究，做出經得起歷史檢驗的裁決。這是在“網際網路+文學”時代下，對人們能力、定力和判斷力的檢驗。</p> <p align="justify">　　網路文學已經走入其發展的第20個年頭，網路文學的共同體理應珍惜時代賦予的這個重要窗口期，摒棄野蠻生長、樹立規則意識、充實文化自信、參與國際傳播。</p> <p align="justify">　　(作者：夏烈係杭州師範大學教授)</p></div> <p class="editor">[責任編輯：楊永青]</p> </div> <div class="page"> <script type="text/javascript"> createPageHTML(1, 0, "t20170821_11833169", "htm"); 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