When Otto Frank first published his daughter’s red-checked diary and notebooks, he wrote a prologue assuring readers that the book mostly contained her words, written while hiding from the Nazis in a secret annex of a factory in Amsterdam.

奥托·弗兰克(Otto Frank)首次出版女儿的红格子封面日记与笔记时，在前言中向读者保证，这本书里大部分都是她的原话。这些日记是弗兰克一家在阿姆斯特丹一处工厂的密室里躲避纳粹迫害期间写下的。

But now the Swiss foundation that holds the copyright to “The Diary of Anne Frank” is alerting publishers that her father is not only the editor but also legally the co-author of the celebrated book.

但是如今，拥有《安妮·弗兰克日记》(The Diary of Anne Frank)一书版权的一家瑞士基金会通知出版商，她的父亲不仅仅是这本名著的编辑，而且从法律上亦应当被列为这本书的合作作者。

The move has a practical effect: It extends the copyright from Jan. 1, when it is set to expire in most of Europe, to the end of 2050. Copyrights in Europe generally end 70 years after an author’s death. Anne Frank died 70 years ago at Bergen-Belsen, a concentration camp, and Otto Frank died in 1980. Extending the copyright would block others from being able to publish the book without paying royalties or receiving permission.

这个做法产生了实际的后果：这本书的版权将于明年1月1日在大部分欧洲国家到期，把安妮的父亲列为作者之后，版权期可以延长到2050年年底。在欧洲，书籍的版权保护期一般是在作者去世70年内有效。安妮·弗兰克70年前死于贝尔根-贝尔森集中营，奥托·弗兰克则于1980年去世。延长版权期可令其他出版社无法不付版税或不经许可就出版这本书。

In the United States, the diary’s copyright will still end in 2047, 95 years after the first publication of the book in 1952.

在美国，这本书的版权仍将延续到2047年年底，也就是这本书自1952年首次出版的95年后。

While the foundation, the Anne Frank Fonds, in Basel, signaled its intentions a year ago, warnings about the change have provoked a furor as the deadline approaches. Some people opposed to the move have declared that they would defy the foundation and publish portions of her text.

该基金会坐落在巴塞尔，名为“安妮·弗兰克基金会”(Anne Frank Fonds)。一年前，基金会表示出这个意向，随着日期临近，这个改变激起一片愤怒之声。反对此举的人宣布抵制基金会，并自行出版安妮日记的若干部分。

Foundation officials “should think very carefully about the consequences,” said Agnès Tricoire, a lawyer in Paris who specializes in intellectual property rights in France, where critics have been the most vociferous and are organizing a challenge. “If you follow their arguments, it means that they have lied for years about the fact that it was only written by Anne Frank.”

法国知识产权律师阿格尼丝·特里格尔(Agnès Tricoire)说，基金会官员应当“慎重考虑其后果”，目前，法国的批评者是最激烈的，他们正在组织抗议活动。“如果你接受他们的说法，就等于说他们多年以来说了谎，这本书并不完全是由安妮·弗兰克写的。”

The decision has also set the foundation on a possible collision course with the Anne Frank House museum in Amsterdam, a separate entity that for years has sparred with the Anne Frank foundation over legal questions, such as ownership of archives and trademark issues.

这个决定还有可能令基金会与阿姆斯特丹的安妮·弗兰克之家博物馆( Anne Frank House museum)产生冲突。该博物馆是一个独立机构，多年来就档案的所有权和商标等法律问题与基金会争吵不断。

The museum has been working for five years with historians and researchers on an elaborate web version of the diary intended for publication once the copyright expires. The research is still progressing with a historical and textual analysis of her writing, including deletions, corrections and stains.

这家博物馆已经同历史学家和研究者合作了五年，建立一份安妮日记的详尽网络版本，只等版权期一到期就公布。对她的日记进行历史与文本阐释的研究工作还在进行中，包括研究日记中的删改和涂抹。

“We haven’t decided yet when or how the results will be published,” said Maatje Mostart, a spokeswoman for the Anne Frank House. “Any publishing will always be done within the legal frameworks.” She added pointedly that neither “Otto Frank nor any other person is co-author.”

“我们还没有决定何时或以何种方式公布这些研究成果，”安妮·弗兰克之家的发言人马特耶·莫斯塔特(Maatje Mostart)说。“所有发行计划都会在法律框架内进行。”她尖锐地补充说，“奥托·弗兰克或任何人都不是合作作者。”

One of Anne’s own astute diary entries seemed to anticipate the disputes: “Why do grown-ups quarrel so easily?”

安妮本人一篇敏锐的日记似乎预见到了这些纷争：“大人们为什么那么爱吵架？”

Anne was 15 when she died at Bergen-Belsen. She had been arrested after someone alerted the authorities that the family had been hiding in the secret annex of a pectin factory on the Prinsengracht, or Prince’s Canal. Otto Frank was the family’s only survivor.

安妮在贝尔根-贝尔森去世时年仅15岁，有人向当局告密说这家人藏匿在王子运河一家胶质工厂的密室里，安妮一家遭到逮捕，奥托·弗兰克是全家唯一的幸存者。

After arranging for her diary and notebooks to be published, he tried to secure Anne’s legacy. In 1960, he and the City of Amsterdam helped save the building where the family had hidden. (It became the Anne Frank House.)

出版她的日记和笔记本后，他一直保护着安妮的遗作。1960年，他与阿姆斯特丹市协助保存了这个家庭曾经藏身的建筑，就是后来的安妮·弗朗克之家博物馆。

Three years later, he set up the foundation in Switzerland to collect the diary’s royalties and distribute them to charities such as Unicef, children’s education projects and a medical fund that today supports about 50 gentiles who saved Jews during the war. He left her actual diaries and notebooks to the Dutch state.

三年后，他又在瑞士成立了该基金会，它将得来的安妮日记版税捐献给联合国儿童基金会、各种儿童教育项目等慈善组织，以及一家医疗基金，它支援着大约50个曾在战争期间拯救犹太人的非犹太人。他把她日记和笔记的原件留给了荷兰。

“Effectively, Otto split up the legacy of his daughter, which one could say has created a bit of a nice mess ever since,” said Gerben Zaagsma, a historian of modern Jewish history at the University of G in Germany who is working on a scholarly edition of the diary backed by the foundation and Germany’s culture ministry.

“奥托实际上是把女儿的遗产拆分开来了，可以说从那以后就造成了一点麻烦，”德国哥廷根大学现代犹太史学者格本·扎格斯玛(Gerben Zaagsma)说，他一直在基金会与德国文化部的支持下，致力于这本日记的学术编辑版本。

The foundation does not publish yearly reports about its finances. But in recent years, it said it had donated about $1.5 million annually to hundreds of charitable organizations.

基金会并不公布自己的年度财报。但是近年来，它声称自己每年向几百个慈善团体捐助150万美元。

“The longer they can claim copyright protection, the longer they can ask money for publication of the works,” said Stef van Gompel, a professor at the University of Amsterdam who specializes in copyright law.

“只要他们拥有版权，就能凭着版权向出版社索费，”阿姆斯特丹大学版权法教授斯蒂夫·范·格姆佩尔(Stef van Gompel)说。

Six years ago, the foundation asked legal experts in various countries for advice on its copyright, according to Yves Kugelmann, a member of the foundation’s board. They concluded, he said, that Otto “created a new work” because of his role of editing, merging and trimming entries from her diary and notebooks and reshaping them into “kind of a collage” meriting its own copyright.

基金会董事会成员伊夫·库格尔曼恩(Yves Kugelmann)说，六年前基金会曾向各国法律专家就版权问题征求意见。他说，专家们得出结论，奥托对安妮的日记和笔记做了编辑、合并和修饰，从而“创作了一部新作品”，让它们重新形成“某种拼贴合集”，因此也应当拥有版权。

Merely declaring Otto the “co-author” on copyright filings extends the copyright, legal experts said, though such a stand could be tested in the courts. Readers would not see any changes on the books themselves, foundation officials said.

法律专家们说，仅仅是主张奥托是版权意义上的“联合作者”，就可以延长保护期，尽管这还需要经过法庭检验。基金会的官员们说，读者不会在书籍上看到任何变化。

The foundation’s officials said that their aim is to “make sure that Anne Frank stays Anne,” Mr. Kugelmann said, by maintaining control and avoiding inappropriate exploitation of the work. “When she died, she was a young girl who was not even 16. We are protecting her. That is our task.”

基金会官员们说，他们的目标是通过保持对安妮日记的控制权，避免对这部作品的不当利用，以此“确保安妮·弗兰克依然是安妮”，库格尔曼恩说。“她去世时还是个不满16岁的小女孩。我们在保护她，这是我们的职责。”

Critics, he said, are wrongly looking at the intended change as a financial matter. “It is not about the money,” he said.

他说，批评者们错误地认为这个改变是为了经济利益。“这不是为了钱，”他说。

But Mr. van Gompel, the copyright lawyer, said extending the copyright runs counter to the intention of the laws.

但是版权律师范·格姆佩尔说，延长版权期违背了相关法律的本意。

“There is a good reason that copyrights are limited, so that people can freely use” written materials, he said. “It doesn’t mean that they need to be protected for all eternity.”

“版权保护期有时间限制，这是有充分理由的，这样人们就可以免费使用书面素材，”他说。“这项法律并不意味着它们需要被永久保护。”

Copyright protections vary from country to country. The classic novella “The Little Prince” fell into the public domain this year in much of the world but remains under copyright in France because of an exception that grants a 30-year extension to authors who died during military service in World War I and II.

版权保护的规则在各个国家都不同。今年，经典中篇小说《小王子》(The Little Prince)在很多国家进入公共版权领域，但在法国还在版权保护期内，因为该国有一项例外条款，规定在“一战”和“二战”期间，在军队服役时牺牲的作者的版权期可以延长30年。

Some critics of the foundation have already tested its resolve by posting bootleg copies of the diary online.

有些批评基金会的人已经在网络上发表一些未授权的日记片段，以此来测试基金会的解决方案。

Olivier Ertzscheid, a lecturer in communications and researcher at the University of Nantes, received a warning letter this month from a French publisher of the diary after he started circulating a copy online in protest. He removed it, but he and a French politician, Isabelle Attard, said they were waiting to see what happens in January before pressing forward with a plan to encourage publication of the original manuscript more widely online.

南特大学传播学讲师与研究者奥利维尔·恩茨希尔德(Olivier Ertzscheid)在网上传播一份安妮日记，以示抗议，本月，他收到了安妮日记法国出版社的警告信。他删除了网上的日记，但他和法国政治家伊莎贝·阿达尔(Isabelle Attard)说，他们已经有计划，促进安妮的原稿在网上更广泛地传播，在此之前，他们要看看一月份会发生什么。

“The best protection of the work is to bring it in the public domain, because its audience will grow even more,” said Ms. Attard, who noted that her own Jewish relatives were hidden or deported during the German occupation in France. “What is happening now is a bluff and pure intimidation.”

“对这部作品最好的保护就是让它进入公共版权领域，因为这样读者才会愈来愈多，”阿达尔说，她指出，在德军占领法国期间，她的犹太亲属亦曾藏匿起来，或被驱逐出境。“现在发生的事只是虚张声势，是纯粹的威胁。”

The foundation insists that by issuing an early warning of its intent to extend the copyright, it is acting ethically to prevent publishers from pursuing a course that might be unproductive and costly.

基金会坚称，他们已经发表早期警告，声称基金会有延长版权保护期的意向，这样做是在道德上防止出版社追求任何可能没有效果、耗费资金的目标。

But if the foundation succeeds, publishers may wind up waiting even longer than the 70 years allowed after Otto Frank’s death.

但是如果基金会胜利了，出版社到了奥托·弗兰克去世70年后，可能还要继续等待。

A second editor, Mirjam Pressler, revised, edited and added 25 percent more material from Anne Frank’s diary for what was called a “definitive edition” in 1991. She qualified for a copyright for her creative work, and the rights were transferred to the foundation, said its lawyer, Kamiel Koelman.

1991年，该书的第二编辑米尔亚姆·普莱斯勒(Mirjam Pressler)修改、编辑了安妮·弗兰克的日记，并增添了25%的新素材，因此这个版本被称为“最终版”。基金会的律师卡米尔·科尔曼(Kamiel Koelman)说，她也应当因为自己的创造性工作赢得一份版权，这份权利目前已经被转移到基金会。

She is still living, he added, giving them copyright ownership from the date of her future death for at least another 70 years.

他说，她目前还在世，这样，到她未来去世70年内，基金会都将拥有安妮日记的版权。