In this article, a discursive analysis of scholarly and critical sources from the first third of the 20th century is conducted to determine the degree of conceptual understanding and establishment of the term “German School” in Russian literary criticism, as well as the specific perception of this phenomenon during that particular historical period. The study demonstrates that, despite the term being introduced by I.V. Kireevsky in 1830, it failed to gain widespread use in the literary discourse of the 1900s–1930s. An analysis of works by Yu.N. Tynyanov, R.V. Ivanov-Razumnik, V.M. Zhirmunsky, and other authors reveals that the group of poets associated with German influence was described using other categories: “Russian Schellingians”, “The Society of the Lovers of Wisdom” (Obshchestvo lyubomudriya), “Archive Youths,” and the “school of pure art”. F.I.In this article, a discursive analysis of scholarly and critical sources from the first third of the 20th century is conducted to determine the degree of conceptual understanding and establishment of the term “German School” in Russian literary criticism, as well as the specific perception of this phenomenon during that particular historical period. The study demonstrates that, despite the term being introduced by I.V. Kireevsky in 1830, it failed to gain widespread use in the literary discourse of the 1900s–1930s. An analysis of works by Yu.N. Tynyanov, R.V. Ivanov-Razumnik, V.M. Zhirmunsky, and other authors reveals that the group of poets associated with German influence was described using other categories: “Russian Schellingians”, “The Society of the Lovers of Wisdom” (Obshchestvo lyubomudriya), “Archive Youths,” and the “school of pure art”. F.I.In this article, a discursive analysis of scholarly and critical sources from the first third of the 20th century is conducted to determine the degree of conceptual understanding and establishment of the term “German School” in Russian literary criticism, as well as the specific perception of this phenomenon during that particular historical period. The study demonstrates that, despite the term being introduced by I.V. Kireevsky in 1830, it failed to gain widespread use in the literary discourse of the 1900s–1930s. An analysis of works by Yu.N. Tynyanov, R.V. Ivanov-Razumnik, V.M. Zhirmunsky, and other authors reveals that the group of poets associated with German influence was described using other categories: “Russian Schellingians”, “The Society of the Lovers of Wisdom” (Obshchestvo lyubomudriya), “Archive Youths,” and the “school of pure art”. F.I.In this article, a discursive analysis of scholarly and critical sources from the first third of the 20th century is conducted to determine the degree of conceptual understanding and establishment of the term “German School” in Russian literary criticism, as well as the specific perception of this phenomenon during that particular historical period. The study demonstrates that, despite the term being introduced by I.V. Kireevsky in 1830, it failed to gain widespread use in the literary discourse of the 1900s–1930s. An analysis of works by Yu.N. Tynyanov, R.V. Ivanov-Razumnik, V.M. Zhirmunsky, and other authors reveals that the group of poets associated with German influence was described using other categories: “Russian Schellingians”, “The Society of the Lovers of Wisdom” (Obshchestvo lyubomudriya), “Archive Youths,” and the “school of pure art”. F.I. Tyutchev held a special place in these discussions; while his work was acknowledged as being shaped by German Romanticism, he was only rarely directly attributed to the “German School”. Thus, the main conclusion of the article is that within the critical discourse of the first third of the 20^th century, the concept of the “German School” remained marginal and was supplanted by other, more commonly used terms.Tyutchev held a special place in these discussions; while his work was acknowledged as being shaped by German Romanticism, he was only rarely directly attributed to the “German School”. Thus, the main conclusion of the article is that within the critical discourse of the first third of the 20th century, the concept of the “German School” remained marginal and was supplanted by other, more commonly used terms.Tyutchev held a special place in these discussions; while his work was acknowledged as being shaped by German Romanticism, he was only rarely directly attributed to the “German School”.
Thus, the main conclusion of the article is that within the critical discourse of the first third of the 20th century, the concept of the “German School” remained marginal and was supplanted by other, more commonly used terms.Tyutchev held a special place in these discussions; while his work was acknowledged as being shaped by German Romanticism, he was only rarely directly attributed to the “German School”.
Thus, the main conclusion of the article is that within the critical discourse of the first third of the 20^th century, the concept of the “German School” remained marginal and was supplanted by other, more commonly used terms.