{"id":163,"date":"2016-08-24T23:01:58","date_gmt":"2016-08-24T21:01:58","guid":{"rendered":"https:\/\/journalliteratur.blogs.ruhr-uni-bochum.de\/?page_id=163"},"modified":"2017-05-05T13:01:09","modified_gmt":"2017-05-05T11:01:09","slug":"bildtext","status":"publish","type":"page","link":"https:\/\/journalliteratur.blogs.ruhr-uni-bochum.de\/gb\/bildtext\/","title":{"rendered":"Image\/Writing"},"content":{"rendered":"

Journal mediality is always also journal visuality. This of course also applies in a similar way to the book. However, whereas book design is given its own attention within publishing studies and art history research \u2013 particularly where it is treated as book art \u2013 book illustration (especially in printed form) has earned a reputation as mere applied art. For journal illustrations technologically reproduced on a mass scale, this verdict applies a fortiori<\/em>. And where such periodically published illustrations \u2013 e.g. the etchings by Daniel Chodowiecki, categorically associated with the first generation of literary pocketbooks \u2013 seem worthy of closer academic consideration, this is focused, as a matter of course, on the individual pictorial work of art. This is contextualised, where necessary, not in terms of the media combination of text and image or image and image within its first publication medium but in terms of work biography or genre history.<\/p>\n

To the same degree that, since the 19th century, the journal has addressed a broader, homogenous public, it is precisely the visual design <\/em>of the journal that constitutes the specific \u2018face\u2019 of this media format, differentiating it from the book (fiction). This is not only due to the increasing integration of illustrations \u2013 since the 1880s by means of autotype and photographs \u2013 or the insertion of adverts and advertising graphics into the layout of the journal (double) page. It is rather more the case that newspaper and advertising typesetting \u2013 in contrast to the typesetting of the work that is common in books \u2013 also allow greater typographical variation, thereby bringing a pictorial dimension to the writing which asserts itself specifically as visual design. An attention-grabbing, \u2018dainty\u2019 appearance becomes, without doubt, a constitutive marketing factor for the media format of the literary pocketbook, which ranges between book and journal. The visual spectrum \u2013 which at the same time also signals which genre the text belongs to \u2013 ranges from the use of different fonts, font sizes and display typefaces, to the spatio-syntactic composition of the (double) page, through to the decision taken by some journal formats not to orient themselves by the typesetting typical of the book but by the typographic disposition of the newspaper, using quartos, mastheads on the first page of every issue, and typesetting in columns. Paratextuality, which is characteristic of the media format of the journal and creates meaning in the interplay between coherence and breach, is therefore essentially also a typographic-visual phenomenon. Nonetheless, apart from a few more recent individual studies primarily on illustrative components, there has still been no systematic research into journal visuality in the \u2018long\u2019 19th century.<\/p>\n

The key difference \u201cimage \/ text\u201d targets this research desideratum, which is not an \u2018enclave\u2019 of visual studies but should be seen in close and reciprocal relation to journal (para)textuality. In so doing, we should focus on cases of media difference and cases of media convergence in equal measure \u2013 generically graduated in the relation between journal visuality and book visuality, and modally nuanced within the spectrum of visualisation strategies between text and image in journal and book literature. From this double perspective, framing issues are also up for debate as regards closure or opening, and \u2013 in connection with this \u2013 intermedial rivalry and dynamic hierarchisation. Illustrated texts versus images accompanied by text: a tension that is reflected in image-text compositions such as the picture story or the comic strip as constitutive of journal visuality.<\/p>\n

Sub-project key questions regarding \u2018image versus text\u2019:<\/p>\n

SP\u00a01:<\/strong><\/p>\n