Dictionary of Arguments

Screenshot Tabelle Begriffe

 
Author Item Summary Meta data
I 11
Artwork/Eco: at the same time a trace of what it wanted to be and what it actually is.
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I 12
"Open work of art"/Eco: what A. Riegl called "artistic" and Panofsky described it (securing it from idealistic suspicions) as the final and definitive sense.
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I 16
The model of the open work of art is independent of the actual existence as "openly" definable works of art. It is about a relationship with the recipient.
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I 36
Open work of art/Eco: only after the Romantic period did symbolism appear in the second half of the 19th century as a conscious poetics of the "open" work of art. Aura of the indefinite.
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I 60
Open work of art: every work of art, starting with rock paintings, is open to an infinite number of forms of reception.
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I 84
Openness/Eco: the impression of openness and totality does not have its reason in the objective stimulus, which is materially determined in itself. Not even in the subject, which is on its own accord disposed for all and no openness:
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I 85
It lies in the cognitive relationship in which possibilities are realized that are stimulated and directed by stimuli organized according to an aesthetic intention.
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I 85
There is also openness even if the artist does not strive for ambiguity but unambiguousness.´
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I 89
Definition Openness/Eco: increase in information.


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Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution.
The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.

Eco I
U. Eco
Opera aperta, Milano 1962, 1967
German Edition:
Das offene Kunstwerk Frankfurt/M. 1977

Eco II
U, Eco
La struttura assente, Milano 1968
German Edition:
Einführung in die Semiotik München 1972


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Ed. Martin Schulz, access date 2018-12-18
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