Constellations of fragments: Periodical and Serialised Photography (1845-1910)

碎片星座：定期和连载摄影（1845-1910）

• 批准号: 314424171
• 负责人: Professor Dr. Jens Ruchatz
• 金额: --
• 依托单位: Institut für Medienwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2020-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/314424171?language=en
• 关键词: Constellations; fragments; Periodical; Serialised; Photography

In reference to text-bound forms of journal literature, photography forms an important point of contrast. Photographs, like journal literature, have been serially and periodically published from the outset, yet according to an opposite logic. Furthermore, photography functions as a paratextual partner (one that is both inter-medial and inter-textual), forming simultaneous constellations with written texts. Photography will be contrasted with linguistic texts, insofar as photographic images - unlike texts in written media (and also unlike traditional images) - constitute fragments or clippings extracted from the space-time continuum. The sub-project aims to characterise the journal format as a particular form of de-fragmentation by way of contextual links. On the one hand, this takes place in an 'intramedial' manner, when photographic images are sequentially or simultaneously serialised so as to create constellations of photographic images. On the other hand, it takes place in an intermedial manner, when text, typography, and various forms of pictorial media are brought into relation with one another so as to establish a plurality of possible meanings. The project thus proceeds in two directions: on the one hand it aims to elaborate the possibilities of contextual linkage offered by the journal format to photographic images; on the other, it seeks to show how illustrated journals were transformed by the rise of new, technically mediated images.Through formal and semantic analysis, typical journal-specific constellations of photographic images will be distinguished and compared on the basis of their history, genre, and country of origin (either Germany, France, or Great Britain). This will involve a distinction between two stages of technological development. Firstly, the project will examine photo series produced between 1845 and 1880, which were often marketed as serialised works for subscribers and which oscillate between book and journal form (e.g. Talbot's The Pencil of Nature). Travel and portrait photography in particular was often published in serial form and accompanied by captions. With the introduction of halftone printing between 1880 and 1910 - a process which allowed text and photographic images to be printed together - photography became the standard form of journal illustration. In regard to both of these stages, the sub-project will be concerned to elaborate the characteristic strategies used to give meaning to photographes, both sequentially, from one periodical issue to another (e.g. through typical headings), or simultaneously, on double-page spreads (e.g. photo montages and mosaics). The aim of the analysis is to ascertain whether photography's fragmentary character is brought to an end or reduced in the context of periodicals, and the extent to which photography is used to contaminate its context, to close or open texts.

就期刊文学的文本装订形式而言，摄影形成了一个重要的对比点。照片与期刊文献一样，从一开始就按相反的逻辑连续定期出版。此外，摄影充当副文本伙伴（既是媒介间的又是文本间的），与书面文本形成同时的星座。摄影将与语言文本形成对比，因为摄影图像——不同于书面媒体中的文本（也不同于传统图像）——构成从时空连续体中提取的片段或剪报。该子项目旨在通过上下文链接将期刊格式描述为一种特殊的碎片化形式。一方面，当摄影图像被顺序地或同时序列化以创建摄影图像的星座时，这以“内部”方式发生。另一方面，它以一种中介的方式发生，文本、印刷术和各种形式的图像媒体相互联系，从而建立多种可能的含义。因此，该项目朝着两个方向进行：一方面，它旨在阐述期刊格式与摄影图像提供的上下文联系的可能性；另一方面，它试图展示插图期刊如何因新的、以技术为媒介的图像的兴起而发生转变。通过形式和语义分析，典型的特定于期刊的摄影图像群将根据其历史、流派和原产国（德国、法国或英国）进行区分和比较。这将涉及技术发展的两个阶段之间的区别。首先，该项目将审查 1845 年至 1880 年间制作的照片系列，这些照片通常作为订阅者的连载作品进行销售，并且在书籍和期刊形式之间摇摆（例如塔尔博特的《自然之笔》）。尤其是旅行和肖像摄影，通常以连载形式出版并附有说明文字。随着 1880 年至 1910 年间半色调印刷的引入（一种允许将文本和照片图像打印在一起的工艺），摄影成为期刊插图的标准形式。在这两个阶段，子项目将致力于详细阐述用于赋予照片意义的特征策略，既可以顺序地从一本期刊到另一期（例如通过典型标题），也可以同时在双页跨页上（例如照片蒙太奇和马赛克）。分析的目的是确定摄影的碎片特征在期刊的语境中是否结束或减少，以及摄影在多大程度上被用来污染其语境、封闭或开放文本。