Networks of Knowledge in Avant-Garde Literature

大约在1900年前后，一些学术学科出现或发生了重大变化，随后塑造了欧洲的文化景观。在人类学中，纸上谈兵的人类学范式随着一场关于田野研究的新讨论而结束。在心理学方面，发展了另类和极具影响力的方法，如精神分析和心理技术。工程师的数量开始迅速增加，他们的发明的数量也在增加。同样，现代艺术和文学也发生了根本性的变化，Fin de siècle、Jahrhundertwende或前卫等人总结的各种运动的实验作品证明了这一点。在我提议的DPhil论文中，我认为这些同步发展一方面由作家和学者保持鲜明，另一方面又交织在复杂的知识网络中，我的目标是追踪和绘制仔细审视先锋文学的网络。与霍斯特·伯格迈尔和伊丽莎白·本杰明等批评家相反，他们对达达主义的看法特别是达达主义和一般的前卫仅限于美学的哲学和文学传统(参见Homayr 1991，Bergmeier 2011，Benjamin 2015)，我想进一步联系前卫艺术，并考虑它与其他形式的知识的相互关系。在这里，相互关系意味着一种特定的再生产形式：与其只研究科学对文学的影响(反之亦然)，这已经是有利可图的(参见例如Hopkins 2004，Adamowicz/Robertson(编辑)2011，Rasula 2015)，我建议关注先锋派如何利用这些知识来产生新的形式，以及他们如何打破文学和学术学科之间的界限。除了这一杂合过程，论文还必须考虑与之对立的“净化工作”(Latour 1993[1991]，11)，即先锋派试图创造缺乏现代思想或知识的纯粹表达方式，例如乌尔斯佩切。在方法上，本文将遵循新历史主义的语境分析，同时也考虑大众媒体和非虚构类出版物。虽然文本将被视为媒体，但必须避免媒体研究中的决定论方法。因此，我将采用和进一步发展演员-网络或演员-媒体理论方法作为一个松散的框架(例如，见Latour 2005，Schuttpelz 2013，Thielmann 2013)。这使得可以在小的翻译步骤中追踪相互关系，并将它们视为杂交体，而不是两个明显不同的实体--文学和科学--的联系。此外，这篇论文还将探讨他者和表现的问题，因为在很多情况下，先锋艺术是建立在原始主义三位一体的基础上的(参见Gess 2013)--‘野蛮人’、‘狂人’和孩子--也涉及非人类行为者。因此，涉及他者的理论概念，如后殖民理论，也将发挥作用。除了为(德国)先锋派提供一个新的视角，本文还旨在为当代文学和媒介研究领域的研究做出贡献。文献和知识的关系，这已成为德语研究的重要组成部分(见Vogl(编辑)2010[1999]，Borgards等人)。(2013版)，将通过一种新的方法加以处理，该方法将其分析为净化主张所涵盖的积极的联网过程。在这样做的过程中，这项工作应该会增加极少数但富有成效的尝试，使社会学行为者网络理论适用于文学研究，从而使其更适合于进一步的研究(参见Schuttpelz 2005，Hahn 2011，Stockinger 2018)。

Several academic disciplines emerged or changed significantly circa 1900 and subsequently shaped the cultural landscape in Europe. In anthropology, the paradigm of armchair anthropology came to an end with a new discussion about field studies. In psychology, alternative and highly influential approaches, such as psychoanalysis and psychotechnics, were developed. The number of engineers started to increase rapidly as did the number of their inventions. Likewise, modern art and literature saw radical changes, as, among others, the experimental works of the various movements summarised by fin de siècle, Jahrhundertwende or avant-garde prove. In my proposed DPhil dissertation, I suggest that these simultaneous developments are kept distinct by authors and academics on the one hand, while, on the other hand, being intertwined in complex networks of knowledge, which I aim to trace and map scrutinising avant-garde literature.Contrary to critics such as Horst Bergmeier and Elizabeth Benjamin, whose views on Dadaism in particular and the avant-garde in general are limited to the philosophical and literary tradition of aesthetics (See e.g. Homayr 1991, Bergmeier 2011, Benjamin 2015), I would like to contextualise avant-garde art further and take its interrelation with other forms of knowledge into account. Interrelation, here, means a specific form of re-production: Rather than studying only the influence of science on literature (or vice versa), which has already been done profitably (See e.g. Hopkins 2004, Adamowicz/Robertson (ed.) 2011, Rasula 2015), I propose to focus on the ways the avant-gardists deployed this knowledge in order to produce new forms of it and on how they broke down the boundaries between literature and academic disciplines. Alongside this hybridisation process, the dissertation will have to consider the opposed "work of purification" (Latour 1993 [1991], 11), i. e. the avant-gardists' attempts to create pure modes of expression devoid of modern thought or knowledge, such as an Ur-Sprache. Methodologically, the dissertation will follow new historicist context analysis and also consider popular media as well as 'non-fiction' publications. While texts will be treated as media, deterministic approaches in media studies must be avoided. Therefore, I will employ and develop further an actor-network or actor-media theoretical approach as a loose framework (See e.g. Latour 2005, Schuttpelz 2013, Thielmann 2013). This allows to track interrelations in small translation steps and to regard them as hybrids rather than as connections of two clearly distinct entities called literature and science. Besides, the dissertation will address questions of otherness and representation, since avant-garde art is in many cases built on a triad of primitivism (See Gess 2013) - the 'savage', the 'madman', the child - and also deals with non-human actors. Hence, theoretical concepts dealing with otherness, such as postcolonial theory, will play a role as well. Besides offering a new perspective on the (German) avant-garde, the dissertation aims to contribute to contemporary fields of research in literary and media studies. The nexus of literature and knowledge, which has become an important part of German studies (See Vogl (ed.) 2010 [1999], Borgards et al. (ed.) 2013), would be addressed via a novel approach which analyses it as an active process of networking covered by the claim of purification. In doing so, the work should add to the very few but fruitful attempts to adapt the sociological actor-network theory to the study of literature and consequently render it more compatible for further research (See Schuttpelz 2005, Hahn 2011, Stockinger 2018).