文学艺术中的网络分析:媒介与创造力的再思考

IF 0.6 0 LITERARY THEORY & CRITICISM
Gundela Hachmann
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Network analysis in the arts and humanities, so goes the argument, has the potential to be much more than a formalist description of connections made. It offers means for detecting the implicit and explicit presences of a variety of different actors in or relating to works of art and challenges us to move beyond established analytical categories such as intertextuality and intermediality by opening the inquiry to a wider diversity of actors and to redefine our understanding of creativity. The article focuses on networks that emerge in lectures in which renowned artists from around the world share with general audiences their views on work processes, motivations to create, and artistic self-understandings. These are known as Poetikvorlesungen in Germany, Austria, and Switzerland, but do not have a distinct label outside of the German-speaking literary scene. 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引用次数: 0

摘要

摘要本文建议将创作主体视为网络中的行动者,也就是说,跟随布鲁诺·拉图尔,将其视为“蜂拥而至的大量实体的移动目标”(拉图尔,2005,46)。它探讨了根据拉图尔的行动者网络理论(ANT),通过使用由计算方法提供信息的结构主义可视化和社会学方法,将网络分析带到诗学讲座中意味着什么。ANT被用来追踪休·肯纳所称的“其他地方的社区”,由精神和思想以及物体和空间组成。这有助于捍卫一种批评方法,这种方法不是以挖掘深层文本意义为导向,而是突出艺术的相关性和引发联想和依恋的潜力。有人认为,艺术和人文学科中的网络分析有可能不仅仅是对所建立联系的形式主义描述。它提供了检测艺术作品中或与艺术作品相关的各种不同行动者的隐性和显性存在的手段,并挑战我们超越既定的分析类别,如互文性和中介性,向更广泛的行动者开放调查,并重新定义我们对创造力的理解。这篇文章聚焦于讲座中出现的网络,来自世界各地的著名艺术家在讲座中与普通观众分享他们对工作过程、创作动机和艺术自我理解的看法。这些人在德国、奥地利和瑞士被称为诗人,但在德语文学界之外没有明显的标签。这篇文章偏离了这样一种观点,即建立联系和形成艺术联想是这些讲座的关键组成部分,因为这种特征经常出现。它首先概述了艺术讲座的类型特征,特别关注这些讲座所参与的网络。标志性的例子是德国小说家丹尼尔·克尔曼的《法兰克福诗学讲座》(2014年)和加拿大作家兼评论家休·肯纳的《坦纳讲座》(1999年)。克尔曼通过假装召唤灵魂来描绘他的艺术影响、灵感来源和对现有环境的引用,这是一种类似于巫师的修辞姿态。肯纳称网络是从建立这种联系演变而来的“其他地方的社区”。这篇文章通过查阅德国电影制作人维姆·温德斯(Wim Wenders)于2018年出版的《诺顿讲座》(Norton Lectures),探讨了对这一类型的网络导向分析会是什么样子。这些用来检验两种不同的分析方法。本文依据行动者网络理论(ANT)对网络进行可视化和跟踪。因此,这篇文章既提供了温德斯讲座参考文献的图形表示,也根据拉图尔概述的方法对联想进行了文本追踪。一个重要的发现是,网络分析,无论其方法如何,都为揭示关系和关联的重要性提供了令人兴奋的机会。网络分析挑战文学学者重新审视和思考互文性、中介性或主体间性,并邀请他们挖掘新的行动者多样性。这篇文章认为,用计算方法进行的图形可视化可以有助于它们传达发现的即时性,尤其是当涉及到来自大型语料库的发现时。然后,文章继续探索ANT除了网络可视化之外还提供的细微差别和理论含义。ANT的一个主要吸引力在于,它提供了对文学批评核心过程的洞察:翻译、调解,以及由此产生的不断发展的动力。由于诗学讲座位于艺术创作、作者自我展示和批评的交叉点,它们为了解辛酸与审美、创造性工作及其对其他艺术品接受的依赖的互动提供了一个特别好的窗口。该论点的结论是,网络分析邀请理论家将读者反应理论重新定义为学者所称的比较媒体研究。最后,文章简要地认为,艺术讲座不是批评的对象,而是学术的蓝图,旨在重新设想文学批评及其对读者的参与。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Network Analysis in Literature and the Arts: Rethinking Agency and Creativity
Abstract The essay proposes to think of the creative subject as an actor in a network, that is, following Bruno Latour, as a »moving target of a vast array of entities swarming toward it« (Latour 2005, 46). It explores what it means to bring a network analysis to lectures on poetics by employing both a structuralist visualization informed by a computational method and a sociological method according to Latour’s Actor-Network-Theory (ANT). ANT is used to make traceable what with Hugh Kenner is called »elsewhere communities« consisting of spirits and minds along with objects and spaces. This serves to defend a method of criticism that is not oriented towards unearthing deep textual meanings, but which foregrounds the arts’ relatability and potential for provoking association and attachments. Network analysis in the arts and humanities, so goes the argument, has the potential to be much more than a formalist description of connections made. It offers means for detecting the implicit and explicit presences of a variety of different actors in or relating to works of art and challenges us to move beyond established analytical categories such as intertextuality and intermediality by opening the inquiry to a wider diversity of actors and to redefine our understanding of creativity. The article focuses on networks that emerge in lectures in which renowned artists from around the world share with general audiences their views on work processes, motivations to create, and artistic self-understandings. These are known as Poetikvorlesungen in Germany, Austria, and Switzerland, but do not have a distinct label outside of the German-speaking literary scene. The article departs from the observation that making connections and forming artistic associations are key components of these lectures as this feature can be found frequently. It first outlines genre characteristics of lectures on the arts with particular focus on networks that such lectures participate in. Emblematic examples are the Frankfurt Lectures on Poetics by the German novelist Daniel Kehlmann (given in 2014) and the Tanner Lectures by the Canadian writer and critic Hugh Kenner (given in 1999). Kehlmann depicts his artistic influences, sources of inspiration, and references to existing contexts by pretending to summon spirits, a rhetorical gesture akin to a necromancy. Kenner calls networks that evolve from making such connections »elsewhere communities«. The essay explores what a network-oriented analysis of this genre could look like by turning to the Norton Lectures by the German filmmaker Wim Wenders (given in 2018). These serve to test two different analytical approaches. The article relies both on network visualization and on tracing of networks according to Actor-Network-Theory (ANT). The article thus offers both a graphic representation of references from Wenders’ lectures and a textual tracing of associations according to the methodology outlined by Latour. An important finding is that network analysis, no matter its method, offers exciting opportunities in revealing the significance of relations and associations. Network analysis challenges literary scholars to revisit and rethink intertextuality, intermediality, or intersubjectivity and invites them to unearth a new diversity of actors. The article argues that graphic visualizations done with computational methods can be instrumental in the immediacy with which they communicate findings, especially when it comes to findings from a large corpus. The article then moves on to explore the nuances and theoretical implications that ANT offers in addition to the network visualization. A major appeal of ANT is, so the argument, that it offers insight into processes that are central to literary criticism: translation, mediation, and the evolving dynamics that stem from them. Since lectures on poetics are located at the intersection of artistic creation, authorial self-presentation, and criticism, they offer a particularly good window into the interactions of poiesis and aesthesis, of creative work and its dependency on the reception of other artworks. The argument concludes by suggesting that network analysis invites theorists to reconceptualize reader-response theory toward what scholars call comparative media studies. Finally, the article briefly considers lectures on the arts not as objects of criticism, but as a blueprint for scholarship that looks to re-envision literary criticism and its engagement of the reading public.
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Journal of Literary Theory
Journal of Literary Theory LITERARY THEORY & CRITICISM-
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