Günter Grass’s Die Blechtrommel presented a radical break with established conventions of post-war German writing. While its early critical reception in Germany tended to concentrate on this rupture, the novel was internationally read in the context of an older European tradition. Comparisons with an international literary canon were used to make the novel and its dubious hero more palatable to a potentially sceptical readership. References to major writers from Rabelais to Joyce and to the picaresque tradition in particular appear in reviews from France to Finland. By positioning Grass’s novel in the framework of the European canon the early reception established a pattern that in the long run influenced Grass’s own writing. In his subsequent work reference to canonical traditions becomes ever more visible as he unfolds dialogues with major authors of the past. By identifying with these authors Grass positioned himself as one among equals in the literary Parnassus. Having established his own international reputation and thereby contributed to enhancing the reputation of post-war German writing as a whole, his later writing increasingly paid tribute to a specifically German literary heritage.

中文翻译：

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流浪者的回归：君特·格拉斯对世界文学的自我定位及其对国际接受的影响

Günter Grass 的 Die Blechtrommel 彻底打破了战后德国写作的既定惯例。虽然它早期在德国受到的批评往往集中在这种断裂上，但这部小说是在更古老的欧洲传统的背景下在国际上阅读的。与国际文学经典的比较被用来使这部小说及其可疑的英雄更容易受到可能持怀疑态度的读者的欢迎。从拉伯雷（Rabelais）到乔伊斯（Joyce）的主要作家，尤其是对流浪汉传统的提及，出现在从法国到芬兰的评论中。通过将格拉斯的小说置于欧洲经典的框架中，早期的接受建立了一种模式，从长远来看影响了格拉斯自己的写作。在他随后的作品中，随着他与过去的主要作者展开对话，对规范传统的引用变得越来越明显。通过认同这些作者，格拉斯将自己定位为文学 Parnassus 中的平等者之一。他建立了自己的国际声誉，从而为提升战后德国整体写作的声誉做出了贡献，他后来的作品越来越多地向特定的德国文学遗产致敬。