Abstract
Within the framework of comparative, contextual, and receptive analysis, this article examines the specificity of the early Gorky’s German reception (1900–1910). The article is an attempt to explain Gorky’s rapid entry into the Germanophone cultural space taking into consideration the problematics of Gorky’s early work and its specific implementation on the one hand and the specificity of the literary process in Germany in these years on the other. The article also takes into account editorial policies and practices as well as the overall political and literary orientation of the press and publishers. Some examples show the impact of Gorky’s work on the literary practice of German writers (R. Huch, G. Hauptmann, F. Wolf, etc.). The article reveals typical patterns of reception when German writers, translators, literary critics and, researchers of that time turn to Gorky’s work.
Highlights
this article examines the specificity of the early Gorky's German reception
an attempt to explain Gorky's rapid entry into the Germanophone cultural space taking into consideration the problematics of Gorky's early work
the specificity of the literary process in Germany in these years on the other. The article also takes into account editorial policies and practices
Summary
В серии для рабочих «В часы досуга» („In freien Stunden“), выходившей в издательстве центрального печатного социал-демократического органа, газеты «Вперед» („Vorwärts“), вышел сборник рассказов под названием «В тисках демонов» („Im Banne der Dämonen“), без указания имени переводчика. Вигандта вышел сборник рассказов под названием «Двадцать шесть и одна», в издательстве «Штайниц» в переводе Л. Гольденринг берлинское издательство «Нойфельд и Хенинс» („Neufeld und Henins“) опубликовало «Бывшие люди» („Gesunkene Leute“), в берлинском издательстве «Гнаденфельд» („Gnadenfeld“) в переводе П.
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