宋春舫的多語書寫與民國初年交會區的知識互換

Soong Tsung-Faung's Multilingual Writings and the Intellectual Exchanges in the Early Republican Contact Zone

本文對照閱讀宋春舫在一九一七年至一九二一年間以中、英、法文發表的散文和戲劇專著，並嘗試透過普蕊特（Mary Louise Pratt）提出的「交會區」（contact zone）概念，探究當時他在中國境內同時以多語寫作、出版的背景及動機，藉此增進對這位戲劇學者的認識。本文認為，宋春舫的多語書寫儘管可能發揮向英語和法語世界介紹中國戲劇、傳達中國觀點的作用，但他首要的對象並非海外人士，而是與他同處於交會區內、習於多語互動的跨國社群。他所提及的觀點，也多出於交會區的特殊視角。宋春舫在新文化運動期間發表的〈世界名戲百種目〉（1918），是他希望優先譯為中文的現代戲劇書單。這份文件原以英語寫成，目的是為了尋找交會區內志同道合之人，並在不受中文世界價值觀的限制下暢所欲言。宋春舫在法語寫成的《中國當代文學》（1919）一書裡測繪了中國戲劇的過去、現在與未來。這些戲劇史研究和改良中國劇場的想法，包含了他與交會區內跨國人士合作的成果在內，也曾於交會區發揮了一定程度的影響。在源於中國的知識傳向西方之前，交會區內以多語進行的知識互換，扮演了十分關鍵的角色。

"This paper studies Soong Tsung-faung's (or Song Chunfang) English and French publications in China between 1917 and 1921, and examines their relationship with his better-known writings in Chinese. Through the perspective of the ''contact zone,'' as proposed by Mary Louise Pratt, we are able to return Soong's work to the transcultural context in the early republican period. As an active member in the multilingual public sphere, which consisted of local periodicals in Chinese as well as major European languages, Soong's first target readers were his fellow inhabitants in the contact zone. His proposal of translating a selection of one hundred modern plays into Chinese was originally presented in English. This not only allowed him to express freely from the judgement of traditional values, but also increased possibility of finding qualified translators for the project in the contact zone. His French monograph La Littérature chinoise contemporaine discussed the past, the present and suggested reform plans for the future of Chinese theatre. It was a result of both personal and collaborative work in the contact zone. Before their achievement on the subject crossed borders and contributed world-wide, the intellectual exchange in the contact zone played a crucial role in the producing of knowledge."