Networks of Knowledge in Avant-Garde Literature

1900年前后，一些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，随着对田野研究的新讨论，扶手椅人类学的范式结束了。在心理学方面，发展了精神分析和心理技术等替代性和极具影响力的方法。工程师的数量开始迅速增加，他们的发明数量也迅速增加。同样，现代艺术和文学也发生了根本性的变化，其中包括各种运动的实验作品，如finde si<e:1>、Jahrhundertwende或先锋（avant-garde）所概括的。在我提出的博士学位论文中，我认为，这些同时发生的发展一方面被作者和学者区分开来，另一方面，它们在复杂的知识网络中交织在一起，我的目标是通过仔细研究先锋文学来追踪和绘制这些网络。与霍斯特·伯格迈耶和伊丽莎白·本杰明等批评家相反，他们对达达主义和一般前卫的看法仅限于美学的哲学和文学传统（见e.g. Homayr 1991，伯格迈耶2011，本杰明2015），我想进一步将前卫艺术置于背景中，并考虑到它与其他形式的知识的相互关系。相互关系，在这里，意味着一种特定的再生产形式：而不是只研究科学对文学的影响（反之亦然），这已经做了有益的（见e.g. Hopkins 2004, Adamowicz/Robertson (ed.) 2011, Rasula 2015），我建议把重点放在先锋派部署这些知识的方式上，以产生新的形式，以及他们如何打破文学和学术学科之间的界限。在这种混合过程中，论文将不得不考虑相反的“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，如Ur-Sprache。在方法上，论文将遵循新的历史主义语境分析，并考虑大众媒体以及“非小说”出版物。虽然文本将被视为媒介，但媒介研究中的确定性方法必须避免。因此，我将采用并进一步发展行动者-网络或行动者-媒体理论方法作为一个松散的框架（参见e.g. Latour 2005, Schuttpelz 2013, Thielmann 2013）。这使得我们可以在小的翻译步骤中追踪相互关系，并将它们视为混合体，而不是文学和科学这两个明显不同的实体的联系。此外，论文将解决他者性和代表性的问题，因为前卫艺术在许多情况下是建立在原始主义的三重奏（见Gess 2013） -“野蛮人”，“疯子”，孩子-也处理非人类演员。因此，处理他者性的理论概念，如后殖民理论，也将发挥作用。除了提供对（德国）前卫艺术的新视角外，本文旨在为当代文学和媒介研究领域的研究做出贡献。文学和知识的联系，已经成为德国研究的重要组成部分(见Vogl (ed.) 2010 [1999]， Borgards等人（ed.） 2013)，将通过一种新的方法来解决，该方法将其分析为被净化主张所覆盖的积极的网络过程。在这样做的过程中，这项工作应该增加很少但卓有成效的尝试，使社会学行动者网络理论适应文学研究，从而使其更适合进一步的研究（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).