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

自近代早期以来，词典、词典和百科全书等参考著作都是按字母顺序编排的。ABC保证在单篇文章中以列举方式提供的事实信息迅速可用。与其格式明显的规范性倾向相反，词汇在认识论上也被定义为一个开放的、反系统的概念空间，它试探性地散布着思想的群岛(塞雷斯、巴特)。然而，讽刺词典、词汇小说和对初级读物的恶搞证明，词汇格式不仅能够解放思想，而且在审美上也是有生产力的。自启蒙运动以来，武断的ABC结构以一种相当明显的方式被用于文学批评、艺术论战和前卫的人工制品。沿着塞德勒和布罗克豪斯，已经出现了一系列相反的伪词典，这些词典是由贝勒(1695/97)和伏尔泰(1764)的批评词典产生的，并通过无数的讽刺年鉴、兽册和按字母顺序排列的自传引导到词典式的反叙事项目，如罗尔·沃尔夫的《Raul Tranchirers Enzyklopädie für unerschrockene Leser》[自1983年以来，Raul Tranchirer‘s百科全书供勇敢的读者使用]。所有这些文本都采用了词典的格式，但希望不仅仅是实用的参考作品：贯穿始终，它们是有趣的，同时具有挑衅性和文学实验，以及文学实验在微观语篇方法的力场作用下，从单个文章的层面和宏观结构的角度出发，对词条的排列按照ABC法进行归类。这种张力产生了文学词典编纂的特定诗学。同时，这也是这些作品在知识生产中具体参与的地方，其主要论点是，假词典提供了一个卓有成效的文学实验室，在这个实验室里，知识是通过真正的审美方法产生的，部分是虚构的。这部认识论上多产的词典文学的历史还没有被写成；这部计划出版的专著旨在填补这一空白。

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.