Optical Appearances - mise en page in Journal Literature and Book Literature

这个子项目将文学文本的相互语义化及其支持媒体的印刷和材料结构视为以媒体为导向的文学史的更广泛领域中的一个有价值的研究领域。它的前提是，文学文本并不是简单地被赋予与它所出现的媒体形式相分离的“纯粹”文本，而是在文本和特定于媒体的语义的复杂相互作用中，通过它的“光学外观”来表达。这种表演性的潜力，其确切的特征在具体的媒体使用中得到了发挥，只要它必须出现在一种或另一种媒介中，就与每一篇文章有关。然而，当文学作品的特定媒体表现形式成为与其他媒体形式竞争过程中的一个因素时，文本的反身性维度--以一种表演性的方式涉及读者--就显得尤为明显。在印刷技术革新和图书生产商业化迅速加强的背景下，该分项目在19世纪上半叶至19世纪60年代末的文学市场中找到了这样一个范例星座。并非巧合的是，这段时间也见证了时尚礼品书格式的兴起--一种以“光学外观”为前提的媒介。从这一点开始，不仅书籍和期刊(最初是以期刊的形式，然后在本世纪下半叶越来越多地以日报的形式)竞争美文和它们的不同受众的生产；礼品书也加入了竞争，一方面像期刊一样定期出现，但另一方面是书形的和珍贵的设计。子项目将其研究对象定义为在这个市场上交易的‘文学’--这个市场的特点是不同媒体格式和被吸引注意力的各种读者群体之间的竞争和干扰。因此，它回到了(后)歌德时代建立的有争议的文学典范进程之前的时期。该项目的指导思想是，对于决定它的当代市场，这部《文学》采取了一种表演性的、以媒体为基础的立场。当它不仅出现在这个经济和审美舞台上，而且当它出现在各种媒体形式时，可以说是为了与自己竞争，它才会更加坚定地这样做。这个子项目特别关注这种光学“多次露面”以及他们所做的特定于媒体的“声明”。基于对多次出版的文本的案例研究，无论是经典化、庸俗化还是被遗忘，它的目的是通过提供文学媒体隐含的历史--由印刷文学作品本身叙述的历史--来帮助重新审视以媒体为导向的文学史。

This sub-project regards the reciprocal semanticisation of literary texts and the typographical and material structure of their supporting media as a valuable field of enquiry within the broader field of a media-oriented literary history. It is premised on the idea that a literary text is not simply given as a 'mere' text, detached from the form of media in which it appears, but that it only comes to be expressed through its 'optical appearance' in the complex interplay of textual and media-specific semantics. This performative potential, the precise character of which is played out in concrete media usage, pertains to every text insofar as it must appear in one medium or another. Nevertheless, the reflexive dimension of a text - one which involves the reader in a performative manner - emerges most notably when the media-specific manifestation of literary works becomes a factor in a competitive process with other media formats. In the context of the rapid intensification of technical innovation in printing and the commercialisation of book production, the sub-project locates such a paradigmatic constellation in the literary market during the first half of the 19th century, up until the end of the 1860s. It is no coincidence that this period also saw the rise of the fashionable gift book format - a medium premised on its 'optical appearance.' From this point on, it was not only books and journals (initially in the form of periodicals, then in the second half of the century increasingly in the form of daily newspapers) that competed over the production of belles lettres and their various audiences; they were also joined by gift books, which on the one hand appeared periodically like journals, but on the other were book-shaped and preciously designed.The sub-project defines its object of study as that which is traded as 'literature' on this marketplace - a marketplace characterised by the competition and interference between different media formats and the various groups of readers whose attention is being sought. It thus returns to the period preceding the controversial processes of literary canonisation established in the (post) Goethe era. The project's guiding thesis is that this 'literature' takes a performative, media-based stance in relation to the contemporary market by which it is determined. And it does so all the more resolutely when it does not merely appear on this both economic as well as aesthetic stage, but when it appears in various media formats, in order, as it were, to compete with itself. The sub-project is particularly concerned with such optical 'multiple appearances' and the media-specific 'statements' they make. On the basis of case studies of texts that were published many times, whether canonised, trivialised, or 'forgotten,' it aims to contribute to a reconception of a media oriented literary history by providing a sketch of an implicit history of literary media - a history narrated by the printed literary work 'itself.'