Abstract: Yu Hua and his works have become a precious channel for cultural exchanges between China and Germany. Although To Live is often regarded as Yu Hua's starting point in Germany, as early as 1989, he had made his unofficial debut in the former Federal Republic of Germany with Mistakes by the River. While the translation and introduction of contemporary Chinese literature was dominated by ideology before the reunification of Germany, the guiding role of the market has gradually increased after 1990. Yu Hua is undoubtedly the beneficiary of this market mechanism. In face of Yu Hua, the former East and West German Sinologists, represented by Ulrich Kautz and Wolfgang Kubin, were still dominated by the aesthetic tendencies of realism and modernism until the beginning of the 21st century. Outside the Sinology circle, the real reception of Yu Hua in the German public sphere undoubtedly began with the publication of Brothers in 2009. The circulation of Yu Hua's works as commodities in the German book market has undergone a transformation from niche literature to popular bestsellers, and the influence of the writer Yu Hua as a cultural symbol has also gradually increased.

Key words: Yu Hua, Germany, translation, reception

摘要： 余华及其作品已经成为中德两国文化交流的一条珍贵通路。尽管《活着》往往被视为余华在德国的起点,但早在1989年,他就以《河边的错误》在原联邦德国实现了非正式登场。中国当代文学的译介在两德统一之前多受意识形态宰制,而在1990年以后,市场的导向作用逐步增强,余华无疑是这种市场机制的受益者。面对余华,以高立希和顾彬为代表的原东西德汉学家直到21世纪初依然受到现实主义与现代主义两种审美倾向的支配。而在汉学圈子之外,余华在德国公共领域真正被接受无疑始自2009年《兄弟》出版。余华的作品作为商品,在德国图书市场的流通经历了从小众文学读物到大众畅销书的转变,作为文化符号的作家余华影响力同样逐步上升。

关键词: 余华, 德国, 译介, 接受