Within the alphabet of facts and fictions. The encyclopedia as literature

自近代早期以来，词典、字典和百科全书等参考书都是按字母顺序排列的。ABC保证在单个文章中以词形化的方式提供的事实信息的快速可用性。与其格式明显的规范性倾向相反，在认识论上，词典也被定义为一个开放的、反系统的概念空间，尝试性地分散了思想的群岛（塞尔、巴特），然而讽刺词典、词典小说和对启蒙读物的戏仿证明，词典格式不仅能够解放思想，而且能够产生审美效果。自启蒙运动以来，任意的ABC结构以一种相当明显的方式被用于文学批评、艺术论战和先锋艺术品。沿着泽德勒和布罗克豪斯，一系列相反的伪词典出现了，由贝勒（1695/97）和伏尔泰（1764）的批判性词典产生，并通过无数的讽刺年鉴，动物寓言和讽刺性组织的自传，引导到词典学的反叙事项目，如拉乌尔Tranchirers Enzyklopädie für unerschrockene Leser [拉乌尔Tranchirer's Encyclopedia for Undaunted Readers，所有这些文本都采用了词典格式，但又不想成为实用的参考作品：自始至终，它们都是有趣的，同时也是挑衅性的智力和文学实验，在单个文章的微观文本方法的力场中发挥作用，而宏观结构则来自于根据ABC进行的词形化的条目安排。这种张力产生了文学辞书学特有的诗学。与此同时，这也是这些作品在知识生产中的具体参与形成的地方，主要论点是，假词汇提供了一个富有成效的文学实验室，在这个实验室中，知识是通过真正的美学，部分虚构的方法产生的。这一认识论上富有成效的词典文献的历史尚未被写下来;这一空白，预计专着旨在填补。

Since the Early Modern Ages, reference works such as lexicons, dictionaries, and encyclopaedias have been organized in alphabetical order. The ABC warrants for the fast availability of the factual information provided in a lemmatized way in single articles. In contrast to the evident normative tendencies of its format, the lexicon has epistemologically also been defined as an open, anti-systematic conceptual space which tentatively scatters archipelagos of ideas (Serres, Barthes).However, satirical dictionaries, lexicon novels, and parodies of primers bear witness that the lexicon format is able not only to liberate thought, but also to be aesthetically productive. In a rather conspicuous way, the arbitrary ABC structure has since the Enlightenment been used for literary criticism, artistic polemics, and avant-garde artefacts. Along Zedler and Brockhaus, a line of contrary pseudo-lexicons has emerged, spawned by the critical dictionaries of Bayle (1695/97) and Voltaire (1764), and leading via myriads of satirical almanacs, bestiaries, and alphabetically organized autobiographies to lexicographic anti-narrative projects such as Raoul Tranchirers Enzyklopädie für unerschrockene Leser [Raoul Tranchirer's Encyclopedia for Undaunted Readers, since 1983] by Ror Wolf.All those texts adapt the lexicon format, yet want to be more than pragmatic reference works: throughout, they are playful and simultaneously provocative intellectual and literary experiments, acting in the force field of micro-textual methods on the level of the single articles and the macro-structure deriving from the arrangement of entries lemmatised according to the ABC. This tension generates the specific poetics of literary lexicography. At the same time, this is the place where the specific participation of those works in the production of knowledge is formed, the major thesis being that fake lexicons provide a fruitful literary laboratory in which knowledge is produced through genuinely aesthetically, partly fictional methods. The history of this epistemologically productive lexicographic literature has as yet been unwritten; a gap which the projected monograph is designed to fill.