Text and Image in 'Konkurrenz': Illustrations in Journal Text(ure)s

“竞赛”中的文本和图像：期刊文本中的插图

• 批准号: 314423859
• 负责人: Privatdozent Dr. Andreas Beck
• 金额: --
• 依托单位: Germanistisches Institut
• 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 2023-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/314423859?language=en
• 关键词: Text; Image; Konkurrenz; Illustrations; Journal

The fourth sub-project contributes to the media-oriented history of the internationally interlinked illustrated literature of the 19th century. Focussing on German, French, and English illustrated journals and books, it investigates the extent to which wood engraving (xylography) led to the development of media-specific illustrative practices. The working hypothesis is that, in the period leading up to around 1850, graphical printing developments, in combination with techniques of composition and printing, not only served to revolutionise textual illustration in quantitative terms, but also led to qualitatively unprecedented, journal-specific forms of text-image relations. The refinement of xylographic printing in combination with set type, improved stereotypes made from wooden printing blocks, and the emergence of alternating double pages with and without illustration led, on our hypothesis, to an ambivalent transformation of the relation between illustrations and text in illustrated journals.On the one hand, the sub-project will attend to the correlations between image and text. Insofar as xylography made the co-presence of images and text on a single printed (double) page commonplace, the question of the proximity of image and text came to be posed-for example by the introduction of iconic-mimetic typefaces. And since through clichés it now became possible to orderly rearrange the elements of already existing illustrated texts, the illustrated journal, as a systematic importer of images, became a site for the construction of coherent multi-modal textual edifices. This establishment of coherence was particularly signi¬ficant in contrast with illustrated books that display a fragmentary character due to their publication as serial works. On the other hand, the sub-project investigates the manner in which the above developments served to weaken the text-image alliance. These developments not only enhanced the inner coherence of illustrated texts, but also resulted in incoherent 'textures' in which image and text stood out as the heterogeneous material from which they were made. The cliché-bound tendency of xylographic printing blocks, together with the strictly applicated alternation of illustrated and non-illustrated double pages facilitated the detachment of wood engravings from illustrated texts; this contributed to an increasing independence of supposedly subordinated images and even enabled the reversal of the previous text-image hierarchy through heterogeneous forms of image-text presentations in illustrated journals.The sub-project thus examines the new forms of juxtaposition, interweaving, coexistence, and conflict of texts and images that emerged with the use of xylographic illustrations in books and journals. It therefore considers the overlapping of these aspects in terms of 'Konkurrenz' between text and image, for 'Konkurrenz' means both rivalry and, as its etymology indicates, also forms of juxtaposition and multimodal cooperation.

第四个分项目有助于媒体为导向的历史，国际上相互联系的插图文学的19世纪。专注于德国，法国和英国的插图期刊和书籍，它调查了木刻（木刻）在多大程度上导致了特定媒体的说明性做法的发展。工作的假设是，在1850年前后，图形印刷的发展，结合构图和印刷技术，不仅在数量上对文本插图进行了革命，而且还导致了前所未有的，期刊特有的文本-图像关系形式。木版印刷术的改良与铅字的结合，木版印刷的改进，以及有插图和无插图的交替双页的出现，根据我们的假设，导致了插图期刊中插图与文本之间关系的矛盾转变。一方面，子项目将关注图像与文本之间的关系。由于木版印刷术使图像和文本共同出现在一个印刷（双）页上变得司空见惯，图像和文本的接近性问题被提出来-例如，通过引入仿像字体。由于通过陈词滥调，现在有可能有序地重新排列现有插图文本的元素，插图杂志作为图像的系统输入者，成为构建连贯的多模态文本大厦的网站。这种连贯性的建立与插图书相比尤其重要，插图书由于其作为系列作品出版而显示出零碎的特征。另一方面，该分项目调查上述发展如何削弱文字-图像联盟。这些发展不仅增强了插图文本的内在连贯性，而且也导致了不连贯的“纹理”，其中图像和文本作为它们所用的异质材料脱颖而出。木版印刷的陈词滥调倾向，加上插图和非插图双页的严格交替使用，促进了木刻版画与插图文本的分离;这有助于增加独立性的所谓从属图像，甚至使以前的文本图像层次结构的逆转，通过异构形式的图像-文本呈现在插图期刊。因此，该项目研究了书籍和期刊中使用木版插图时出现的文本和图像的并列，交织，共存和冲突的新形式。因此，它认为这些方面的重叠在文本和图像之间的“Konkurrenz”，因为“Konkurrenz”意味着竞争，正如其词源所示，也是并列和多模式合作的形式。