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

第四个分项目对19世纪相互关联的国际插图文学的传媒史作出了贡献。它聚焦于德国、法国和英国的插图期刊和书籍，调查木刻(木刻)在多大程度上导致了特定于媒体的插图实践的发展。工作假设是，在1850年左右之前的一段时间里，图形印刷的发展与排版和印刷技术相结合，不仅从数量上革命了文本插图，还导致了质量上前所未有的、特定于期刊的文本-图像关系形式。根据我们的假设，木版印刷结合定字印刷的精细化，木版印刷刻板的改进，以及带插图和不带插图的交替双页的出现，导致了插图新闻中插图和文本之间关系的矛盾转变。就像木版印刷术使图像和文本在一张印刷品(双页)上同时出现变得司空见惯一样，图像和文本的接近程度的问题开始被提出--例如，通过引入标志性的模仿字体。由于通过陈词滥调《S》现在可以有序地重新安排已经存在的插图文本的元素，插图期刊作为图像的系统进口者，成为构建连贯的多模式文本大厦的场所。这种连贯性的建立与插图书籍相比特别重要，插图书籍由于作为连载作品出版而显示出零碎的特征。另一方面，该分项目调查了上述事态发展如何削弱了文字-形象联盟。这些发展不仅加强了图文并茂的内在连贯性，也导致了图像和文本作为构成它们的不同材料而显得不连贯的纹理。木版印刷的陈词滥调，加上插图和非插图双页的严格交替，促进了木版版画与插图文本的分离；这有助于提高所谓从属图像的独立性，甚至能够通过插图新闻中不同形式的图像-文本呈现来扭转以前的文本-图像层次结构。因此，它从文本和图像之间的“Konkurrenz”的角度来考虑这些方面的重叠，因为“Konkurrenz”既意味着竞争，也意味着并列和多模式合作的形式。

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.