New Times. Tempo, Acceleration, and the Pluralisation of Temporal Dimensions in Humorous Picture Stories, Cartoons, and Comics between 1900 and 1930

图画故事和漫画对时间体验和结构的文化和美学参与的最重要贡献之一是它们对时间、节奏和时间维度的描述。在这一时期（1900-1930），人们对这些领域的兴趣在科学和艺术以及公共话语中都有所增长；同样，虚构作品也证明了人们对时间性及其结构的迷恋。因此，在第二阶段，该项目将分析幽默的图画故事和漫画（就其风格技巧和出版背景而言，在程度上而不是在种类上有所区别）如何有助于对时间的反思。这种分析将参考知识话语，流行和美学/文学表现形式，所讨论的作品的出版格式，以及它们在这些中的定位。项目的主题重点是时间、时间和时间性，以及它们在结构和材料层面上的各种呈现模式。在期刊上发表图画故事引起了以下几点考虑：期刊是定期出版的，它们涉及时事，它们考虑到接受者的日常生活，而且在许多方面，它们是由短暂的物质性构成的。此外，期刊与电影和节目等临时媒体形式之间存在某种形式的竞争。在整合漫画和图片故事的过程中，期刊能够通过日期实践、时间跳跃和时间压缩来玩弄时间结构。该项目的研究将特别集中在四个领域。第一个是关于历史上描绘时间、运动、速度和加速度的新模式，作为图形艺术家的冲动。第二个问题是对这一时期期刊中图形图像的反应，因为这被认为是一个动荡、记录和激烈竞争的时代。第三部分论述了由图像系列和其他类似图像安排刺激的接收形式-特别是那些允许快速阅读的形式。第四个主题维度涉及图形作品，如漫画、图画故事和漫画，这些作品致力于（预言或模仿）描述“未来”，即未来世界、技术和生活方式。从20世纪初开始，特别是从20世纪20年代开始，漫画开始想象未来的世界，这些世界与文学和电影平行发生，经常作为交换，但仍然与一种独特的出版形式联系在一起。特别是1900年前后出版的幽默讽刺漫画，预测了早期科幻漫画的未来场景。这些漫画的图像程序是与其他艺术一起开发的，以阐述独特的现代代码。

One of the most important contributions made by picture stories and comics to cultural and aesthetic engagements with temporal experience and structures is their depiction of temporality, tempo, and temporal dimensions. In the period under consideration (1900–1930), interest in these areas grew in the sciences and the arts, as well as in public discourse; likewise, fictional works testified to a fascination with temporality and its structures. In phase two, the project therefore will analyse how humorous picture stories and comics (distinguished in degree rather than in kind with respect to their stylistic techniques and their publication contexts) contribute to reflection on time. This analysis will take place with reference to intellectual discourses, popular and aesthetic/literary presentation forms, the publication formats of the works in question, and their positioning within these.The thematic emphasis of the project is on time, the temporal, and temporality, as well as their various modes of presentation at the structural and material levels. The publication of picture stories in periodicals raises the following considerations: journals are published periodically, they refer to current affairs, they have the everyday time of their recipients in mind, and, in many respects, they are constituted by an ephemeral materiality. In addition, there is a form of rivalry between journals and transitory media formats such as film and shows. In integrating caricatures and picture stories, journals are able to play with temporal structures by means of dating practices, time jumps, and temporal compression.Research within the project will focus on four areas in particular. The first is concerned with historically new modes of depicting time, movement, speed, and acceleration as impulses for graphic artists. The second concerns the reaction to graphic images in the periodicals of the period, insofar as this is conceived as an era of upheavals, records, and intense competition. The third addresses the forms of reception stimulated by image series and other such image arrangements – particularly those which allow for quick reading. A fourth thematic dimension concerns graphic works such as caricatures, picture stories, and comics that are devoted to the (prophetic or parodic) depiction of "the future", i.e. futuristic worlds, technologies, and ways of life. From the beginning of the twentieth century, and particularly from the 1920s on, comics began to imagine futuristic worlds, which took place in parallel and often in exchange with literature and film, but remained tied to a distinctive publication format. In particular, the humorous and satirical comics published around 1900 anticipated the futuristic scenarios of early science fiction comics. The image programmes of these comics were developed alongside attempts in the other arts to elaborate distinctively modern codes.