Die Blechtrommel (1959) was the first German novel written after 1945 to count as ‘Weltliteratur’, according to Hans Magnus Enzensberger in a much quoted review. The fact that most of it was written in Paris, where the narrated action of the novel concludes with the arrest of its protagonist, gave it an added Franco-German dimension. Günter Grass reinvigorated the German language by refreshing classic native genres, such as the Bildungsroman, the picaresque and the fairy tale, and his vibrant prose was coloured by his reading of Goethe, Grimmelshausen, and the Grimms, as well as the modernist triumvirate of Mann, Kafka, and Döblin. Grass often drew attention to these influences, most of which have been thoroughly investigated in the critical literature. Fictional works such as Das Treffen in Telgte (1979), Ein weites Feld (1995), and Grimms Wörter (2010) deal with the ‘interrupted’ national tradition and his own place within it, but when Grass reviewed formative reading experiences he highlighted writers such as Cervantes, Flaubert, and Montaigne alongside Jean Paul and Fontane. The young German author and expellee from the lost city of Danzig was in fact an avid reader of foreign authors in translation. His mother’s bookcase contained Russian classics by Tolstoy and Dostoyevsky alongside popular historical romances such as Gösta Berling (1891) by the Swedish novelist Selma Lagerlöf, which circulated in multiple German versions before the First World War. In the early 1950s his Düsseldorf sculpture teacher Ludwig Gabriel Schrieber recommended the historical neo-picaresque by Belgian author Charles de Coster, Tyll Ulenspiegel (1867). Later in Paris Paul Celan pointed Grass to the novels of Rabelais, specifying Gottlob Regis’ translation, as explored by Peter Arnds in his contribution to this special issue. Grass also read the Anglo-Irish Laurence Sterne and James Joyce, who reinvented the novel form in the 1760s and 1920s respectively, and the American

中文翻译：

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君特格拉斯与国际文学

根据汉斯·马格努斯·恩岑斯伯格 (Hans Magnus Enzensberger) 在一篇被广泛引用的评论中的说法，《布莱克特罗梅尔 (Die Blechtrommel)》(1959) 是 1945 年之后第一部被称为“世界文学”的德国小说。事实上，它大部分是在巴黎写成的，小说的叙述行动以主人公被捕而告终，这给了它一个额外的法德维度。君特·格拉斯 (Günter Grass) 通过令人耳目一新的经典本土体裁，如成长小说、流浪汉和童话故事，重振了德语，他充满活力的散文因阅读歌德、格里梅尔斯豪森和格林夫妇以及曼的现代主义三巨头而充满活力、卡夫卡和德布林。格拉斯经常引起人们对这些影响的关注，其中大部分已经在批判性文献中进行了彻底的研究。虚构作品，如泰尔格特的达斯特雷芬 (1979)、Ein weites Feld (1995)、和 Grimms Wörter (2010) 处理“被中断的”民族传统和他自己在其中的位置，但是当格拉斯回顾形成性阅读体验时，他强调了塞万提斯、福楼拜和蒙田等作家以及让·保罗和方丹。这位来自失落之城但泽的年轻德国作家和被驱逐者实际上是外国作家翻译的狂热读者。他母亲的书柜里有托尔斯泰和陀思妥耶夫斯基的俄罗斯经典作品，以及瑞典小说家塞尔玛·拉格洛夫 (Selma Lagerlöf) 的《哥斯塔·柏林》(Gösta Berling，1891 年) 等流行的历史浪漫小说，该书在第一次世界大战前以多个德国版本流传。在 1950 年代初期，他的杜塞尔多夫雕塑老师路德维希·加布里埃尔·施里伯推荐了比利时作家查尔斯·德科斯特、泰尔·乌伦斯皮格尔（1867 年）的历史新游乐派。后来在巴黎，Paul Celan 将 Grass 指向了 Rabelais 的小说，并指出了 Gottlob Regis 的翻译，正如 Peter Arnds 在他对这一特刊的贡献中所探讨的那样。格拉斯还阅读了分别在 1760 年代和 1920 年代重新发明小说形式的英裔爱尔兰人劳伦斯·斯特恩和詹姆斯·乔伊斯，以及美国的