Introduction: Periodical Literature in the Nineteenth Century 105 Introduction: Periodical Literature in the Nineteenth Century Vance Byrd and Sean Franzel Grinnell College / University of Missouri In recent decades, scholars have taken increased interest in the original contexts in which nineteenth-century literary and critical texts were produced and read, turning, as might be expected, to the cultural periodicals that abounded in the period� 1 In the process, it has become clear that critical editions of individual authors’ works might inadvertently distort our understanding of the rich textual and medial environments of the period, for these editions commonly eliminate texts and images that originally framed individual works. Anglophone scholars working on nineteenth-century England have gained a head start on reconstructing basic features of the Victorian periodical landscape, and Germanists in Europe and North America have been working to catch up (see the essay by Daniela Gretz in this special issue for a longer summary of the current situation in German Studies). 2 The essays in this volume intervene in this field, addressing the formats of nineteenth-century periodicals and the ways in which they informed the production of texts and visual images and shaped reader expectations� The use of collected editions for literary-historical scholarship can be traced back to pioneers of late nineteenth-century German philology such as Wilhelm Dilthey, who proposed that literary studies should build upon national archival collections of manuscripts, letters, and book editions rather than the newspapers, journals, and magazines in which literature and criticism first appeared (3-4). While Dilthey thought that literary archives would provide scholars a glimpse into the author-genius’s soul (6), certain recent new editions of periodical literature have challenged such conceptions of authorship by being more attentive to the various ways that editors and writers prepared texts for periodical publication. Roland Reuß and Peter Staengle, the editors of the Brandenburg edition of Heinrich von Kleist’s Berliner Abendblätter (1810-11), for example, present a differentiated picture of Kleist as a writer and Redakteur during his short stint of compiling the daily newspaper ( BA II/ 8: 386). Reuß and Staengle’s annotated volumes and accompanying CD-ROM provide rich supple- 106 Vance Byrd and Sean Franzel mental material, including the newspaper articles and police reports from which Kleist culled his articles for the Abendblätter (in the second half of the paper’s run, over seventy percent of the articles were first printed elsewhere [Sembdner 260]). This multimedia edition illuminates Kleist’s editorial labor, including his work as a recirculator or recycler. His practices of reprinting, copying, or repurposing texts from other periodicals (which are strikingly common, yet often neglected in scholarship on the period 3 ) reveal Kleist to be a medial manipulator and a collaborator, rather than the author-genius Dilthey would have looked for. Likewise, recent volumes edited by Nicola Kaminski and Volker Mergenthaler provide further insights into the impact of periodical publication on literary production. By providing facsimiles of the entire run of journal issues in which certain literary texts appeared, they reconstruct the materials that surrounded given literary texts. 4 In their edition of E.T.A. Hoffmann’s Des Vetters Eckfenster , for example, Kaminiski and Mergenthaler that Hoffmann’s text was shaped by generic conventions from moral weeklies as well as by the many paratextual relationships in which the Eckfenster stood. As Kaminski and Mergenthaler show, these influences can only be identified when Hoffmann’s work is read in light of its initial publication in Johann Daniel Symanski’s Der Zuschauer: Zeitblatt für Belehrung und Aufheiterung (1821-23). Such recent critical projects highlight the necessity of a more nuanced approach to literary and critical texts as periodical literature as well as to the different authorial and editorial practices that produce it, and this recognition guides the scholarship presented in this special issue� But what other factors have led to this renewed interest in periodicals, indeed, in periodical studies, in recent years? First and foremost, nineteenth-century journals and newspapers have become considerably more accessible through the many new projects to create and expand print and digital archives. Partnerships spearheaded by public institutions and private corporations have transformed how archives are constituted and how we engage with them, 5 and it is certainly an exciting moment for interdisciplinary nineteenth-century studies on both sides of the Atlantic. The open-source mass digitization of archival material helps uncover how nineteenth-century periodicals were produced through complex processes of compilation, selection, and adaptation. This wealth of access, has, however, simultaneously led to a condition of information overload, a feature of the early twenty-first-century media landscape that mimics the experience of nineteenth-century readers and their sense of print (over)saturation. 6 In German Studies this access has been fueled by institutional collaborations and working groups such as the Münchener DigitalisierungsZentrum, Deutsches Textarchiv, the Bielefeld “Zeitschriften der Aufklärung” database, DigiZeitschriften, and more, all of which have made eighteenthand nineteenth-century periodicals Introduction: Periodical Literature in the Nineteenth Century 107 newly accessible and searchable. At the same time, this sense of a new proliferation and recirculation of periodicals today should be met by new methods to evaluate this information (see the essay by Lynne Tatlock in this volume for an example of the applications of quantitative analysis). Going hand in hand with new access to periodicals is our current sense of living in a time of technological and medial transformation. Digital media have enabled new forms of viewing and reading. Shifts in experiences of time and place accorded by the “new” media that surround us provide an opportunity to uncover analogous shifts in experience and perception occasioned by earlier medial transformations, allowing for new ways of conceptualizing the periodical at the intersection of book history and media history. 7 The nineteenthcentury periodical press introduced what Gerhardt von Graevenitz has aptly dubbed a “Zeitungsmoderne” (“newspaper modernity”) not least because of technical innovations in printing speed, paper production, and the mass production of images (345). While printing with movable type had changed little in the 350 years since the Gutenberg Bible, nineteenth-century newspapers, magazines, and journals appeared at a moment when printing became mechanized and a commercial publishing industry began to emerge in full force. Throughout the nineteenth century, publishers and writers could benefit from a host of technological innovations that contributed to the rapid rise of illustrated and non-illustrated serial publications in Europe since the 1830s and led to the commodification of authors and their works on a new scale. 8 Like digital media, periodicals gave readers a sense of being able to see and read about the world (or the “universe” as in Kirsten Belgum’s essay in this special issue) in new ways. Like digital media, the seriality and periodicity of these publications generated a sense of temporal acceleration and ephemeralization, 9 encouraging new ideas of the up-to-date and the current ( das Aktuelle ), and quickly pushing events of the previous day (or hour) into the recesses of historical oblivion. 10 And as with digital media, reading nineteenth-century periodicals was always a multimedial experience, for the proliferation of images through illustrated magazines and newspapers was just as important as that of texts (an issue Angela Borchert, Belgum, and Shane Peterson address in this volume). Finally, the recent rise in interest in periodical studies might well be found in the productive challenge of theorizing the textual and medial heterogeneity that one encounters on the pages of periodicals, newspapers, and magazines. Johann Friedrich Cotta, one of the period’s leading publishers, placed an ideal of “Allen Etwas” (“something for everyone”), an open-ended miscellaneity and heterogeneity, at the heart of his flagship periodical, the Morgenblatt für gebildete Stände (1807-65). This heterogeneity is one of the main features that distinguishes periodical literature from author editions. The literary and critical 108 Vance Byrd and Sean Franzel texts examined in this special issue are surrounded by reports, letters, theater and book reviews, miscellaneous pieces, and travel accounts, and this diversity extends to the many illustrations that appeared in each issue. Accounting for the processes of selection and compilation foregrounds the ways in which periodical literature undercuts the notion of single authorship of words and images. And if periodicals are characterized above all by the collaborative process in which editorial staff bring unrelated texts into proximity to each other (in individual issues and across multiple installments), periodicals lend themselves to theorization as archives or containers for textual and visual materials. 11 Indeed, this is a notion of storage and curation that clearly informed the many periodicals that called themselves “museums,” “archives,” “libraries,” and “magazines.” Moreover, heterogeneity affected how readers encountered the many pieces captured in the pages of periodicals. A diverse mise-en-page required readers to constantly decipher ensembles of articles and illustrations. As readers moved through printed material - turning pages, going back to articles in prior issues - they grew accustomed to and came to enjoy various modes of spatial and temporal heterogeneity, a “Nach- und Nebeneinander,” which underscores the active role readers played in the production of meaning. 12 These flows back and forth between materials on the page were of course not completely unstructured: editors often worked with a common grammar for these publications. 13 Conventions of genre and format, such as paratexts, generated coherence and shaped reader expectations (see discussions in this volume by Vance Byrd and Tobias Hermans on epigraphs and editorial footnotes in particular) as did the recurrence of specific literary forms, including travel narratives, various kinds of fictional prose, and lyric and ballad poetry (see Gretz’s discussion in this volume on the entanglement of the novel and the periodical). Experiments with literary and critical form can thus be approached as engagements with the conventions of a periodical landscape characterized by a protean mixture of texts and images. Taken as a whole, then, the nine essays collected in this double special issue all approach a range of texts and images expressly as periodical literature, addressing in the process some of the theoretical and methodological challenges that we have sketched out here. In the first essay, Dennis Senzel takes a closer look at Jean Paul’s late, unrealized “Wochenschrift” or “Apotheker” project. Jean Paul intended this “Wochenschrift” to be his “last comic work” and organized it formally as well as materially in analogy to the general format of a contemporary cultural periodical. As Senzel shows, this unpublished project is situated at the intersection of the canonical Werk in book form and the Werkchen, a term that Jean Paul used to describe texts written for periodicals or other occasional venues. This is a Introduction: Periodical Literature in the Nineteenth Century 109 curious case (though not uncommon for Jean Paul, who published avidly in journals such as the Morgenblatt für gebildete Stände ) of a Werk being written as if it were a piece of periodical literature. Senzel makes the case that this “last work” mimics the ephemerality of the periodical and yet, paradoxically, the publication is supposed to shape the author’s legacy in a lasting fashion. One way this project engages with the logic of the periodical is by positioning Jean Paul as an editor of texts by multiple authors rather than as a single, monological author, a recurrent theme throughout this special issue (see especially essays by Hermans and Gretz). The author behind the Werk then comes into view as a compiler, a preserver, discarder, and recycler of heterogeneous texts, of multiple Werkchen . Jean Paul’s use of periodical literature as a material and textual principle of organization also extends to the appearance and mode of publication: his “Wochenschrift” was to be published serially, with colored paper wrappers typical of periodicals at the time. Senzel also situates this project against the backdrop of the practice of unauthorized reprinting ( Nachdruck ): authors commonly sought to protect writings published in journals (which were not protected by copyright laws) by collecting them as miscellanies in book form, and this idea informs the “Wochenschrift.” Jean Paul thus comes into view as a writer intervening at the intersection of the periodical and the book. This dichotomy was to prove productive for the development of periodical literature and literary production more broadly throughout the nineteenth century. Sean Franzel likewise picks up on metaphors and material manifestations of ephemerality in his essay on the proto-genre of playful commentary on printed advertisements ( les affiches ). Tracing this type of commentary from its beginnings with Louis Sébastien Mercier in the 1780s and 1790s into the mid-nineteenth century via figures such as F. J. Bertuch, Kleist, Ludwig Börne, and Adalbert Stifter in journals and newspapers such as London und Paris (1798-1815), the Berliner Abendblätter , and the Morgenblatt für gebildete Stände , Franzel shows how reflections on printed advertisements serve as a form of metareflection on the media ecology of periodicals more broadly, in which reading advertisements, reading periodicals, and reading the modern city come into focus as structurally similar undertakings. This scene of reading dovetails with the emphasis on visual images found elsewhere in this special issue, as walls of buildings covered by advertisements appeared as two-dimensional spaces that competed with the mise-en-page of the periodical� Accounts of the ephemerality of print, the coexistence of heterogeneous materials side-by-side, and the unruly proliferation of masses of paper organize this urban commentary, as does an emphasis on Paris as the origin of all (good and bad) innovation. Commentary on les affiches likewise presents a vision of the author less as original genius and more as rag picker (as Baudelaire - and then Benjamin - would later stylize the 110 Vance Byrd and Sean Franzel modern writer), plucking out choice bits of paper and text from the surrounding detritus. The discourse on les affiches emerges as one of many ways in which writers try to come to terms with the mediality of the periodical� Most people today think of Robert Schumann as a nineteenth-century composer and music critic rather than as an author of periodical literature� In his essay, Tobias Hermans reminds us that in 1834 Schumann cofounded and edited his own cultural journal, Neue Zeitschrift für Musik , a periodical in which opinions about actual musical compositions were voiced by fictional members of the Davidsbund . For the Romantic composer, the boundaries between life and fiction were fluid: these characters were modeled after participants in Schumann’s own gatherings at the Leipzig coffeehouse Zum Arabischen Coffe Baum , and their fictionalization might make literary scholars think of gatherings described in E.T.A. Hoffmann’s Serapionsbrüder . As his essay unfolds, Hermans raises the concern that we attach too much importance to the main articles in periodicals. Instead, he encourages us to direct our attention to the textual periphery and to integrate tools of narratology into periodical studies. Here, he focuses on the footnotes ostensibly added by a fictional editor to the music reviews, intervening in the debates of the Davidsbund members. Hermans proposes that these footnotes, which can be easily overlooked on the printed page, are actually an important paratextual convention and are linked to the manner of narration in Schumann’s journal. His analysis identifies four characteristics of this extradiegetic narrator: it is not omniscient; it sets the fictional story world into dialogue with actual nineteenth-century performers and performances; it addresses readers and spurs critical reflection on the often inconclusive views presented by the Davidsbündler ; and it makes evident the editorial labor behind creating a journal. With this final point, Hermans makes the case that paratextual elements, such as footnotes, highlight the constructedness of the periodical page and its reception, an issue taken up again by Vance Byrd’s focus on epigraphs in the mastheads of periodicals. While most readers today are familiar with book editions of Annette von Droste-Hülshoff’s famous Die Judenbuche , Byrd’s essay asks us to take a closer look at the format of the original journal publication of this canonical crime story. This story of Friedrich Mergel’s involvement in the murders of a Jew and a forester was first published by Hermann Hauff in the Morgenblatt für gebildete Leser (1837-65) in sixteen installments in April and May 1842. Byrd invites us to examine the page layout as well as the rich constellation of textual elements - travel writing, poetry, puzzles, reviews - that framed the original journal publication and that have been eliminated from subsequent book editions of Droste-Hülshoff’s work. In particular, his essay focuses on the functions of the epigraphs located in the masthead below the title of each issue. On the one hand, Introduction: Periodical Literature in the Nineteenth Century 111 these brief excerpts from Shakespeare, Corneille, Crabbe, Goethe, and others establish a common intellectual framework for engagement with a given issue’s content. These epigraphs help establish a peer group for the articles appearing in each issue and, at the same time, their inclusion elevates the legitimacy of the periodical because they signal that the publication’s content is appropriate for consumption in a competitive literary marketplace. Furthermore, epigraphs anchor a current issue into the temporalities of a periodical’s longer run: this feature of the mise-en-page generates coherence for otherwise interrupted installments by keeping readers abreast of topics addressed in previous issues and by contributing to thematic, plot, and character development in the current installment. However, Byrd’s essay concludes that readers could not rely solely on epigraphs for the interpretation of a journal issue; instead, they provide coordinates for engagement with periodical literature, and they are residual signs of the work at the heart of the production and consumption of periodicals. Like Tatlock’s subsequent essay, Byrd highlights the importance of the labor of editors and readers in lending periodical literature coherence. Angela Borchert’s essay addresses parallels between French and German caricature periodicals in the Vormärz (1830-48), describing the caricature as a central site of reflection on the broader periodical landscape. Drawing on recent scholarship on the “Schreibszene” (“scene of writing”), Borchert argues that it becomes paradigmatic for illustrated satire journals throughout Europe such as La Caricature (1830-35), Le Charivari (founded in 1832), Punch (founded in 1841), the Fliegenden Blätter (founded in 1845) and Kladderadatsch (founded in 1848) to reflect upon scenes of writing, drawing, as well as printing, shifting the focus of scholarship on the caricature from modes of (reader) reception to that of production. Several features of the caricature genre thereby come into view: first, the ensemble of texts and images in caricatures appears as a site of chaotic mixture and hybridization. Caricatures in periodicals draw on all available visual and aesthetic techniques and thus mirror the hybrid, mixed quality of periodicals themselves. Second, depictions of the production of caricatures help to conceptualize the cooperation among artists, etchers, writers, and editors necessary for these journals’ success. Representations of this teamwork once again reveal a side of literary life that does not neatly center around artist-genius figures. Despite distinguishing between certain stylistic features particular to the German and French contexts - the German privilege a Late Romantic style and emphasize the arabesque, while French images are more realistic and thematize the printing press more directly - Borchert reveals a central function of caricature across national contexts, namely as a seismograph that measures and records market conditions, political disruptions, and attempts to censor free speech and critical representation in the Vormärz � As Borchert 112 Vance Byrd and Sean Franzel shows, caricatures do more than simply prod political authorities; instead they reflect on how provocative critical messages are produced and circulated in a multimedial manner� Essays by Kirsten Belgum and Shane Peterson both show how new illustration technologies unmistakably altered book and periodical publication and the reading preferences that went along with them. Against the backdrop of illustrated printed materials becoming more affordable and available to mass audiences, Belgum reconstructs how the publisher and entrepreneur Joseph Meyer staged an offensive to deliver illustrated serial publications to readers thirsty for illustrated reading material and knowledge about famous sites and architecture from around the world with his illustrated journal Meyer’s Universum (1833-61). This included the repurposing of images in previous circulation through the use of steel engravings, which could make more impressions than copper plates, and the recycling of previously published texts. Belgum’s analysis highlights how the “universal” character of Meyer’s periodical emerges from an editorial process that involved the rapid appropriation of words and images without regard for intellectual property, accuracy, thematic coherence, or an ethnographic purpose tied to one region or geography. Belgum does underscore that Meyer was concerned about how this universe of words and images should be read. Meyer’s Universum became a platform for a highly descriptive, hyperbolic language that made these images more captivating for his readers than any factual account or representation� While Belgum is interested in how the proliferation of illustrated material contributed to the educational mission of Meyer’s publications, Peterson focuses on the reception of illustrated periodicals against the backdrop of increased ease and profitability of reproducing images in the second half of the nineteenth century. Peterson describes a historical moment in which the elimination of copyright protections for classical authors in 1867 coincided with advances in illustrated printing processes, less expensive materials for printing, and improved distribution networks. He identifies a shift in which late-nineteenth century illustrated periodicals competed with illustrated books and luxury editions for dominance in the literary marketplace, and illustrated periodicals and book editions, such as the five-volume illustrated Goethe edition published by the Deutsche Verlags-Anstalt (1882-85), alike faced criticism. The editorial decision to place illustrations near great literature was a contentious matter, and contemporaries debated the value of illustrated books and periodical editions in nationalist, gender-based, and class-related terms. Some contemporaries believed that serious literature like Goethe’s could only be composed of letters on a book page and that pictures were superfluous, with some critics going so far as to claim that illustrated periodicals stunted the intellectual and emotional Introduction: Periodical Literature in the Nineteenth Century 113 development of readers. Other critics held that illustrated editions encouraged idle engagement with pictures and with the materiality of editions rather than reading the actual literature they contained, a position in line with Belgum’s account of verbal and pictorial spectacle in the pages of Meyer’s Universum � For Peterson, these illustration debates were ultimately linked to hierarchies of prestige and canon formation. Do illustrated editions elevate or degrade a piece of literature? Lynne Tatlock’s essay addresses posthumous serialization of an unfinished, final novel by E. Marlitt, one of the Gartenlaube ’s (1853-1937) most prolific and famous authors. After her death in 1887, the Gebrüder Kröner Verlag wanted to profit from her popularity by issuing the final installments of her unfinished novel, Das Eulenhaus (1888), and by selling a book edition of her collected works. W. Heimburg stepped in to complete Marlitt’s unfinished novel. While researchers on the novel have conjectured about which parts and how much of the novel the respective authors wrote, Tatlock makes use of digital humanities approaches, such as automated stylistic analysis and author attribution experiments, to determine each author’s distinct writing style as well as to identify the rhetorical and generic conventions that they shared. While computational methods help us better assess where Heimburg continued after Marlitt put down her pen, Tatlock uses this case study to make broader claims about nineteenth-century reader habits and editorial practice. She proposes that nineteenth-century readers were actually quite forgiving of discrepancies, interruptions, and incoherence, the very aspects literary scholars are most eager to investigate. Instead, she encourages us to consider how seriality entices readers to find narrative and even authorial unity where it did not exist. In this manner, the publication of Marlitt’s posthumous final novel teaches us to shift our focus to editorial labor and collaborative authorship in periodical literature. The final essay by Daniela Gretz starts with a helpful survey of the research in periodical studies in Germany as well as internationally, before turning to sketch the theoretical approach that informs her current research group in Bochum and Cologne that addresses the poetics of the miscellany. This essay thereby serves both as a helpful introduction to current periodical studies and as a more specific exploration of the specific generic and formal principle of the miscellany. Working with an understanding of genres of periodical literature as what she calls “mediale Handlungsschemata” (“medial schemata of action”), Gretz offers a reading of two late nineteenth-century novels - Raabe’s Stopfkuchen (1890) and Fontane’s Der Stechlin (1897) - and the ways in which their composition is informed by models of miscellany periodical publication. Looking at the original publication context of the two novels in the Deutsche Roman-Zeitung (founded in 1863) and Über Land und Meer (1858-1923), respec- 114 Vance Byrd and Sean Franzel tively, Gretz examines how the formal poetics of the novels integrate heterogeneous structural elements, discourses, and modes of writing characteristic of the format of these illustrated literary journals� In the case of Stopfkuchen , Gretz discusses the novel’s proximity to other kinds of genres in the press of the time, including travel reports from Africa, the Bildungsroman , colonial and émigré novels, love and marriage novels, and more, and compares the Raabe novel to two contemporaneous novels that work with similar genre templates. Seen as part of the periodical landscape, Stopfkuchen comes into view as a kind of ironic play with genre expectations from the contemporary Bildungspresse , as well as an attempt to mimic the polyphonic, miscellaneous structure of the Roman-Zeitung . As Gretz argues, this miscellaneity does not necessarily presuppose the creation of brand-new forms and genres, but instead modifies and recombines forms that readers are already familiar with. The essay closes with the suggestion of how Der Stechlin might also be read in light of the poetics of the miscellany, with Gretz examining the title vignette accompanying the novel’s original publication in Über Land und Meer and the way that this image thematizes the heterogeneity and miscellaneity of the novel itself. Notes 1 On the “Kulturzeitschrift” see most recently Scherer and Stockinger. 2 The scholarship of Belgum and Wurst are notable exceptions to this trend in North American research on the history of the book and periodicals in Germany� 3 These practices were called “scissors and paste” journalism in the British context. On this subject see Feely; also Cordell. 4 These include editions of Eichendorff’s Viel Lärmen um Nichts (Kaminski and Mergenthaler, ‘Der Dichtkunst’ ) and Hoffmann’s Des Vetters Eckfenster (Kaminski and Mergenthaler, Zuschauer )� 5 Latham and Scholes 517; see also Mussell, Press � 6 On the concept of print saturation see Multigraph; on the challenges both for contemporaries and for literary historians of the nineteenth century see Erlin and Tatlock. 7 On the nineteenth century as an age of medial transformation see Faulstich. 8 For brief accounts on printing innovations and reading culture in nineteenth-century Germany see Gerhardt; Flood; Tatlock’s edited volume Publishing Culture and the “Reading Nation ”; as well as Manuela Günter’s study Im Vorhof der Kunst. Introduction: Periodical Literature in the Nineteenth Century 115 9 On acceleration in the nineteenth century see Koselleck; on nineteenth-century configurations of ephemerality, see Bies et al.; on the digital ephemeral see Chun� 10 On the periodical and notions of currentness or “Aktualität” see Pompe. On “periodical time” as a function of seriality and periodicity see Turner as well as Beetham� 11 On the periodical as archive see most recently Düwell and Pethes, as well as Gretz and Pethes� 12 See Kaminski et al., “Zeitschriftenliteratur” 33. 13 Mussell, “Repetition” 348; on the genre conventions of periodical literature see also Dembeck as well as Berg et al. Works Cited Beetham, Margaret. “Time: Periodicals and the Time of the Now.” Victorian Periodicals Review 48.3 (2015): 323-42. Belgum, Kirsten. Popularizing the Nation: Audience, Representation, and the Production of Identity in Die Gartenlaube , 1853—1900 . Lincoln, NE: U of Nebraska P, 1998. 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