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及其支持媒体的排版和材料结构视为媒体导向文学史更广泛领域内的一个有价值的研究领域。它的前提是，文学文本不仅仅是作为一种“纯粹的”文本，脱离了它出现的媒体形式，而是通过文本和媒体特定语义的复杂相互作用，通过其“光学外观”来表达。这种表现潜能，其精确特征在具体的媒体使用中发挥出来，适用于每一个文本，只要它必须出现在一种或另一种媒体中。然而，当文学作品的媒介特定表现成为与其他媒介形式竞争过程中的一个因素时，文本的反身性维度——即以一种表演方式涉及读者的维度——出现得最为明显。在印刷技术创新和图书生产商业化迅速加剧的背景下，子项目在19世纪上半叶至19世纪60年代末的文学市场中定位了这样一个范例星座。这一时期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，这并非巧合。从那时起，不仅仅是书籍和期刊（最初是以期刊的形式，然后在20世纪下半叶越来越多地以日报的形式）在优美的书信及其不同的读者之间竞争；此外还有礼品册，一方面像期刊一样定期出现，另一方面则是书本形状，设计精美。子项目将其研究对象定义为在这个市场上作为“文学”进行交易的东西——这个市场的特点是不同媒体格式和不同读者群体之间的竞争和干扰，他们的注意力正在被寻求。因此，它回到之前的时期文学册封建立在（后）歌德时代有争议的过程。该项目的指导思想是，这种“文学”与当代市场有关，它采取了一种表现性的、基于媒体的立场。当它不仅出现在这个经济和美学的舞台上，而且出现在各种媒体形式中，似乎是为了与自己竞争时，它就会更加坚决地这样做。这个子项目特别关注这种光学的“多重表现”和他们所做的特定媒体的“陈述”。在对多次出版的文本进行案例研究的基础上，无论是被册封的，琐碎的，还是“被遗忘的”，它的目的是通过提供文学媒体的隐含历史的草图，为媒体导向的文学史的重新概念做出贡献——这是一段由印刷文学作品“本身”叙述的历史。

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.'