Register
Abject-Art
84
Abjekt
83–84, 498, 516–517
Affektisolierung
xxviii, 139, 142, 175, 190–191, 201, 204, 219, 221, 236, 263, 269, 303, 326, 332, 618, 657, 677, 684, 689, 704
Abwehr
xxv–xxvi, xxviii, 55, 77, 82–83, 94–99, 127, 139, 142, 147, 175, 177–179, 300, 360, 364, 367, 369, 399, 424, 521, 592, 597, 602, 620
Acconci, Vito
131, 132–133, 257, 462, 552–553, 583–584
Achtsamkeit
xxii, 17, 94, 145, 204, 215–216, 230, 256, 699
Adler, Alfred
598
Affektdarstellung
126, 133, 166, 168, 170, 191, 194, 196, 200–202, 204, 206, 213, 219, 236, 251, 256, 263–265, 268, 276, 280, 290, 292, 301–302, 306, 316, 326, 329, 336, 351, 371–372, 374–377, 380, 421, 466–468, 470, 481, 510–511, 519–520, 532, 539, 543, 553, 568, 590–591, 615, 627–628, 649–651, 655–657, 661, 663–664, 670–671, 680, 686, 698, 703
Affektintensität
15, 25, 27, 29–30, 41, 47–48, 58, 60, 81, 94, 112–113, 117, 142, 168, 201, 204, 220, 251, 263–265, 269, 270, 276, 301, 306, 319, 329, 336, 356, 359, 372–374, 380, 390, 393, 448, 450, 479, 497, 519, 590, 649, 659–661, 680, 689, 693, 698–699, 701–703
Affektinszenierung
354, 361, 369, 373–374, 427, 438, 448, 467–468, 474, 478, 489, 520, 680, 689, 696, 705
Affektqualität
15, 24–25, 27–28, 30, 40–41, 47–48, 81, 177, 201, 204, 206, 265, 270, 273, 329, 353, 360–361, 380, 385, 390, 449, 466, 468, 479–481, 484, 499, 501, 504, 510–511, 520, 543, 575, 611, 615, 620, 656, 659, 675, 702–703
Affektiver Zustand
14–16, 26, 30, 40–41, 47, 81, 99, 135, 137, 174, 194, 196, 204, 219, 268–269, 276, 280, 290–291, 329, 355, 359, 367, 369, 371–373, 375–377, 380–381, 447, 486, 470, 474, 478, 481, 489, 494, 497, 504, 510, 519, 531, 553, 563, 592, 619, 651, 655, 658–659, 662, 664, 684, 689, 700
Affektregulation
xxv, 82–83, 97, 137–139, 141, 179, 204, 213, 236–237, 264, 266, 300, 325, 329, 358–359, 364, 424, 467, 497, 510, 592, 619–620, 654, 659–661, 685, 697–703
Affektübertragung
16, 41, 126, 168, 170, 184, 192, 195, 204, 268, 280, 329, 352–353, 369, 372–374, 380, 394–395, 451, 454, 486, 510, 556, 615, 628, 661, 680, 686, 698, 702, 707–708
Aggression
49, 128, 199, 264, 359–360, 447, 511, 518–520, 545, 552, 566, 568, 572, 574, 591, 593, 614–615, 633, 654, 656, 683
Akt der Animation
89, 92, 99
Akteur-Netzwerk-Theorie
81
aktive Unaufmerksamkeit
138, 151
Aktiv-Passiv-Umkehr
177–178, 207, 495–498, 501, 520, 591, 597, 603, 613, 634–636
Aktpsychologie
4–5
Alberro, Alexander
104–105, 118, 342
Alberti, Leon Battista
374
Allegorie
xvii, 347–350, 353, 366, 375–376, 398, 413, 459, 482, 562, 599, 601, 648, 684, 687, 707
allgemeine Psychologie
xix–xx, xxiii, 4, 13, 22–24, 26–27, 36, 41–42, 96, 269, 372, 375, 378
Ambiguität
25, 58, 343, 370, 448, 450, 454, 466, 536
Ambivalenz
xxiv, 44, 77, 93, 138, 147, 197, 263, 350, 391, 396, 404, 419, 454, 460, 470, 478, 481, 483–484, 487, 493, 496–498, 504, 515, 520–521, 523, 603, 633, 652, 680–682, 684, 687, 697
Analepse
32–33
analytische Kunstpsychologie
xxi–xxiii, 51, 56, 87, 92–93, 99
anatomischer Geschlechtsunterschied
74–75, 77–78, 355, 398, 446, 507
Angst
77, 81, 128, 138, 141–142, 176, 179, 181, 183, 304, 329, 357, 359, 363, 399, 440–441, 443, 472, 475, 499, 501, 504, 511, 514, 567, 597–598, 611, 617, 619, 623, 625, 649, 651–653, 702
Annäherung des Betrachters
25, 34, 276, 293–295, 301, 353–354, 374, 404, 427, 470, 496, 516, 525, 646, 682, 693
Annäherung des Künstlers
188, 200, 269, 290–291, 428, 430, 548, 594, 698
Anti-Ästhetik
335, 345
Antin, Eleanor
463
Antonioni, Michelangelo
429–430
Äon
20–21, 365–368
Appropriation Art
342, 370, 391–393, 396, 398, 403, 408, 416, 425, 454, 464, 539
Archetypen
64, 73, 431, 435, 442, 459, 491, 597, 642, 705
Ärger
140, 362, 378, 472, 656
Aristoteles
149–150, 367, 372–373
Arnheim, Rudolf
xxiii, 24, 36
Art & Language
107, 110–112, 116, 118, 122, 127, 130, 245
Art Horror
504
Artefakt
xviii, xxvii, 33, 129–130, 166, 170, 195, 217, 219, 222–223, 232, 239, 281, 393, 673, 690, 694, 703
Artforum
77, 112, 316, 338, 488
Artists Space
xxix, 342–343, 458, 465
ästhetische Emotion
14, 22, 25–26, 49, 170
ästhetische Sphäre see rezeptionsästhetische Sphäre
ästhetisches Interesse
22
ästhetisches Objekt
24–25, 89, 92, 422
ästhetisches Urteil
22, 25–26, 49
Asymmetrie
36, 477, 614–615, 620
Atkinson, Terry
107, 110–111, 121–122, 202
Augenblicklichkeit
xvii–xviii, xxxi, 21, 27, 29–30, 46, 61, 79, 136, 141, 144, 163–166, 187–188, 192, 201, 234, 239–240, 246–247, 258, 275, 280, 285, 294, 296, 298, 305–306, 324, 331, 343–344, 364–367, 383, 397, 400, 423, 427, 451, 454–455, 467, 489, 517, 519, 521, 523, 533, 585, 595, 600, 623, 631, 655, 657, 662, 670, 674, 680, 688–689, 700–701, 705–706, 708
Aura
76, 88, 90, 105, 222, 251, 343, 346, 347, 353–354, 394–395, 415, 438, 452–455, 470, 523, 548, 573
Authentizität
49, 69, 219, 251, 342, 344, 352, 361, 369–371, 374, 379–384, 388–390, 404, 406, 415–416, 419, 427, 432, 438, 440, 444–445, 450–451, 463, 474, 478, 486, 511, 519–521, 536, 540–541, 546, 548, 556, 568, 576, 593, 604, 617, 627, 629–630, 642, 647–648, 664, 673, 680, 682–684, 687–688, 696, 701
Autofiktion
540, 655
automatische Zeichnung
58–59, 61, 71, 137
automatischer Herstellungsprozess
113, 303
automatisches Schreiben
58, 541
Autonomie
31, 89, 103–104, 114–115, 120–121, 124, 131, 135–136, 166, 169, 251–252, 279, 291, 300, 306, 310, 314, 340, 344, 350, 430–431, 435, 458, 566, 643, 671
Autonomie-Ästhetik
3
Autor
xiv, xxi, 7, 105, 115, 118, 133, 242, 327, 342–343, 346, 352, 370, 387, 397–398, 408, 415, 462, 539–540, 676, 680
Aversion see Affektqualität
Baldessari, John
336–338, 339–340, 343, 407, 438, 679
Baldwin, Michael
107, 111, 202
Balint, Michael
127
Ballard, J.G.
403–406, 540
Barthes, Roland
xiv, 105, 340, 381, 411, 435
Basalemotionen
28, 378
Baudrillard, Jean
340–341, 436–437, 554, 604
Becher, Bernd und Hilla:
Abwicklung
310, 312–313, 323–324, 328, 330–331, 677–678, 686, 706
anonyme Skulptur
315, 317–318, 320, 324, 328, 330
Typologie
, 310, 312, 315–316, 320–323, 326, 328–331, 455, 677–678, 680–681, 683–684, 686, 690, 706
Beckley, Bill
336–337
Begehren
28, 72, 79–80, 257, 353, 363, 368, 383, 390, 396–397, 400, 406, 409, 419–421, 437, 439–440, 447, 450–452, 478, 494, 504, 509–510, 515, 531, 533, 543–544, 557, 571–572, 580, 582, 585, 595, 600, 612, 617, 619, 622, 627, 652, 680, 682, 684
Beichte
602–603
Belichtung
263, 411, 537, 558, 582, 585, 587, 644, 646
Bellmer, Hans
513–516, 522
Belting, Hans
89, 92, 99, 291, 379–380
Benglis, Lynda
75–76, 463
Benjamin, Walter
88, 90, 105–106, 346–350, 366, 413
Ben-Ze’ev, Aaron
14, 26–28, 97, 136, 504
Bergson, Henri
6, 14, 36
Bewegtbild
78, 175, 469, 489, 492–493, 523, 623, 626, 630, 634, 636, 640, 678
Bewusstseinsinhalt
4–5
Bewusstseinsstrom
15, 58, 264
Bildausschnitt
11, 34, 44, 78–79, 159, 242, 311, 338, 346, 371, 403, 430, 433, 445, 469, 471–472, 477, 480, 486, 488, 493–494, 509, 535, 559, 562, 566, 701
Bildoberfläche
201, 212, 338, 421, 428, 470, 498, 508, 590, 670
Bildsprache
183, 276, 422, 473, 481, 490, 501, 522, 537, 582, 600, 682, 699
Bildträger
xvi, 39, 130, 198, 200–201, 204, 218, 246, 250, 263, 284, 291, 293, 305, 332, 337–338, 343, 369, 458, 470, 589, 670–671, 699
Bildzeit
xix, xx, 13, 35–36
Binswanger, Ludwig
53
Blow-up
429–430, 432, 452
Bohrer, Karl-Heinz
556, 561
Brentano, Franz
xxii–xxiii, 3–6, 8, 52–53
Breton, André
58, 60–61, 62, 64, 385, 540–541, 555–556, 561–562, 572–573, 585, 600–601, 622
Bronfen, Elisabeth
65, 69, 71–72, 384, 387–390, 422–423, 445, 452, 471, 478, 481–482, 485–486, 498, 500, 534, 543, 641
Brooks, Rosetta
405–406, 435, 437, 440–441, 443–445, 448, 450, 453–454
Brouillet, André
63–64
Brouwn, Stanley
244–245
Bruner, Jerome Seymour
152–153
Buchloh, Benjamin H. D.
119, 122–123, 193, 350, 398–399, 413
Byron, George Gordon
557, 634, 636
Byron’schen Heldenfigur
634–636, 641
Cahun, Claude
462
Calle, Sophie:
Double Game
610, 653
Exquisite Pain
550, 649, 654, 655–657, 658, 659–663, 696, 702–703
Los Angeles
658–659
Moi aussi
652
No Sex Last Night
534, 604
Paris Shadows
528, 551, 552–555, 599, 609–610, 641, 674
Rachel, Monique
615
Suite Vénitienne
550–551, 555–559, 560–562, 563, 564–566, 567–568, 572, 576–577, 578, 579–580, 581, 582, 583–585, 586, 587–588, 589–591, 592–594, 595, 596–600, 603–612, 614–615, 617–618, 621–622, 625–627, 629, 633, 637, 639–643, 645–646, 674, 683, 688, 696
The Address Book
658–659
The Birthday Ceremony
550, 649, 650–654, 663, 702–703
The Bronx
658–659
The Confessional
603, 629
The Graves
615–616, 625
The Hotel
550, 605–606, 607–610, 628, 637, 643, 647, 683
The Shadow
610–612, 613–619, 620–621, 622–631, 632–634, 635–637, 638–643, 646–647, 673–674, 688, 702
The Sleepers
528–530, 531–534, 538, 550–551, 555, 599, 608–609, 658–659
The Striptease
569, 570–572, 640, 682–683
The Tie
550, 649, 653–654, 663
True Stories
535, 544–545, 546–548, 570, 598, 617, 652–653, 660
Cannon, Walter
48
Caroll, Lewis
19
Carroll, Noël
502–504
Casanova, Giacomo
557, 635
Cézanne, Paul
158, 161–162, 163–164, 166–167, 223
Chaotische Aufzählung
156
Charcot, Jean-Martin
51, 60, 62, 63, 65–66, 68, 381–382, 389
Chombart de Lauwe, Paul-Henry
255, 257
Chronologie
xiii, 19–20, 115, 133, 154, 160, 164, 191, 197, 204, 213–214, 217, 221, 228, 230, 234, 241, 248–249, 258, 260, 264, 272, 288, 313, 322–323, 340, 367, 395, 427, 454, 466, 484–485, 530, 538–540, 583, 605–606, 609, 647–648, 672, 674, 678, 681, 683, 686, 688, 700–701, 705–707
Chronos
19–21, 145, 168–170, 217, 223, 365
Cicero
373
Citroen, Paul
308
Clover, Carol J.
490–491
Collage
80, 110, 187, 208, 218, 239, 243, 255, 307–308, 392, 407, 438, 447, 639
Container
82, 100
Containment
82
Courbet, Gustave
158, 506–509
Cowboy
433–441, 445–446, 706
Cramer, Friedrich
17–19, 29
Crimp, Douglas
xxix–xxxi, 343–347, 350, 353, 367, 370, 391–392, 394, 403, 411, 422, 452, 458, 468, 518
Curiger, Bice
570, 604, 639
Dalí, Salvador
69–70, 71–72, 385–387, 390
D’Amato, Joe
634, 637–638
Danto, Arthur
482–483
Darwin, Charles
378
de Chirico, Giorgio
538, 564, 565–566, 601, 643, 644, 646
Debord, Guy
255–256
Dekonstruktion
xxxvi, 335, 345, 350, 355, 385, 397–399, 427, 461, 482, 486, 501, 520, 522, 571, 591, 625, 627, 641–642, 648, 664, 681–682, 687, 692
Deleuze, Gilles
19–21, 144–145, 168–169, 226, 340, 364–367
Dematerialisierung
105, 119–122, 125, 209, 240
depressive Position
81–82
dérive
256–257, 527
Descartes, René
116, 375
Deutung
xxii, 39,–40, 53, 55, 73, 83, 92, 95, 128, 185, 189–190, 221, 302, 371, 400, 407, 436, 533, 546, 596, 599, 623, 626, 634, 651, 690–692
Diagnostic and Statistical Manual of Mental Disorders (DSM)
66, 138, 148, 356
Dialektik
90–92, 196, 204, 276–278, 290, 302, 383, 430–432, 541, 566, 642–643, 703
Didi-Huberman, Georges
61, 90–92, 381–383, 439
Diegese
10, 34, 38, 44, 461, 562, 579, 594
dimensionale Emotionstheorie
14, 42, 47
Diptychon
605, 702
Dissoziation
175–176, 190, 269, 356, 360, 601, 700
dissoziative Identitätsstörung
67–68, 460
Diva
387–391, 418, 442, 445, 452, 486
Dobbe, Martina
308, 316, 319–320, 322
Documenta
123–125, 316, 386, 539
Dominanz
43–44, 47–49, 69, 75, 80, 140, 201, 264, 270, 293, 380, 445, 446, 493–494, 498, 515, 518, 520, 524–525, 641
Don Juan
440, 557, 635–637
Donjuanismus
636
Doppelgänger
431, 580, 597, 612, 627, 642–643
Doppelung
348–349, 365–366, 398, 430, 554, 566, 577, 580–581, 603, 613, 616–617, 639, 642–644, 646–647
Dostojewski, Fjodor Michailowitsch
597, 601–603
Douglas, Mary
83, 503–504
Dramatisierung
34, 60, 70, 93, 190, 307, 311, 315, 324, 359, 367, 382, 443, 448, 452, 454, 469, 473, 486, 489, 515, 519, 523, 533, 540, 543, 548, 555–556, 560, 573, 575–577, 593, 598, 603–604, 611, 628, 631–633, 648, 662–664, 670, 673, 679, 683, 707
Dramaturgie
78, 133, 220, 264–265, 368, 371, 381–383, 388, 427, 452, 459, 461, 466–467, 486, 490, 520–521, 524, 577, 584–585, 590, 600, 605–606, 609, 631, 640, 642–643, 647, 655, 657, 688, 703, 705
Du Bos, Abbé Jean-Baptiste
377
Duchamp, Marcel
104, 108, 147, 150, 196, 209, 386–387, 392–395, 410–411, 429, 462, 506–510, 651
Dürer, Albrecht
507–508
Dyade zu dritt
xxi, 87, 94
Ekel
28, 378, 499, 504, 511
Eklund, Douglas
404, 424–426, 458, 478
Ekman, Paul
378–379
Ellipse
32–33
Emblem
347, 413–414, 687
emotionaler Modus
26–30, 95, 100, 126, 135, 184, 191, 195, 204, 220, 263, 276, 280, 290–292, 316, 319, 353, 355, 372, 374, 380, 481, 484, 489, 494, 504, 510, 519, 539, 553, 568, 615, 619, 629, 655–657, 661, 671, 684, 686, 698–702
Emotionalisierung
xxviii, xxxi, 30, 41, 60, 201, 204, 354, 360, 362, 364, 367, 369–370, 372, 377, 380, 394–395, 438, 449, 451, 454, 486, 556, 680, 696
Emotionspsychologie
,
see allgemeine Psychologie
empirische Psychologie
,
see experimentelle Psychologie
Entfremdung
43, 78, 173, 175, 216, 301, 405, 472–473, 489, 499, 514, 517, 696
Entgrenzung
, xxv–xxvi, 20–21, 30, 141, 215, 230, 234, 259, 294, 317, 321–322, 366–368, 406, 423, 426, 432–433, 441, 456, 462, 499, 504, 510, 532, 533, 549, 558, 609, 645, 651, 663–664, 673–675, 679–680
Epoché
5, 52, 56
Erotisierung
76, 409, 489, 493, 498, 509–510, 513, 515, 522, 531, 587, 600, 608, 646, 656, 683
erweiterte Gegenwart
6, 17, 145, 168, 216, 299, 669, 673, 685–686
erweitertes Selbst
91–92, 482, 690
Erzählforschung
14, 31–32
Erzählperspektive
32–35, 232, 532, 534, 540, 543, 555–556, 562, 593, 597, 600, 602, 610–611, 623, 628, 630, 639, 641, 647–648, 683, 707
erzählte Zeit
16, 32–33, 466, 610, 658, 664, 678, 707
Erzählzeit
31–32, 35, 604–605, 662, 707
Es
,
see Strukturmodell der Psyche
Exhibitionismus
,
see Schaulust
experimentelle Ästhetik
,
see psychologische Ästhetik
experimentelle Psychologie
xix–xx, xxii–xxiii, 3, 30, 47–48, 378
explizite Klassifikation
99
Expressionismus
57, 372, 429
Expressionismus, abstrakt
36, 49, 73–74, 84, 112, 119, 134, 137, 208, 351, 369, 399, 406
Expressionismus, neo
346, 352, 392, 425, 500, 511
Fakt
xv, xxi, 34, 58, 95, 110, 115, 122, 133, 172, 203, 206, 218, 219, 237, 252, 254, 268, 317, 318–319, 338, 358, 383, 404, 416, 446, 454, 469–470, 530, 536, 542–543, 553, 555, 584, 590, 599, 604, 619, 633, 640, 642, 662, 664, 672–673, 675–676, 679–680, 683, 688, 692–693
Farbe
xvii, 24, 157, 163, 187, 193–195, 207, 210, 217, 225, 230, 234, 255, 284–285, 287, 296, 352, 364–365, 447, 488, 505, 685, 695
Fassbinder, Rainer Werner
370, 623–626, 630–631, 639
Fechner, Gustav Theodor
3–4
Feldtheorie
42, 44
feministische Kunsttheorie
74–75, 79, 81, 425, 457, 463, 478, 482–483, 490–491, 499, 515, 547, 552
Femme fatale
64, 443, 571, 683
Ferenczi, Sándor
175–178
Fetisch
76–80, 403, 405, 412–413, 417, 420–421, 446, 452, 475, 509, 514–516, 642, 654, 682, 693
Fight-Flight-Reaktion
48, 174–175
Fiktion
35, 218, 341, 388–389, 403–404, 406, 414, 450, 503–504, 536–538, 543, 556, 561, 599, 604, 633, 673, 683, 693
Film Noir
473, 612, 614, 641
Fischer, Gottfried
173, 181
Fischer, Konrad
124, 315
Fläche
23, 36–37, 113, 154, 157, 161–163, 258, 283, 293, 417, 438, 443, 470, 588, 594, 661–662, 678, 681, 705
Flynt, Henry
106–107
Fokalisierung
33–34
Foster, Hal
56, 74, 337, 345, 350, 447, 477, 515–516
Fotoroman
557, 614
Foucault, Michel
64, 340, 355–356
Fouque, Antoinette
547
Fragil
64, 69, 72, 89, 182, 420, 469, 470, 486, 489, 497–498, 513, 515, 517, 616, 688
Fragmentierung
57, 175, 182, 190–191, 265, 350, 366, 397, 427, 501, 648, 684, 689, 699
freie Assoziation
56–58, 70, 92, 153, 199, 264, 541, 549, 615, 664
Fremdartigkeit
91, 94, 110, 359, 432, 499–500, 503, 509, 516, 519
Frequenz
32, 224–225, 227, 234, 264, 268, 590, 671, 704
Freud, Anna
xxv, 95, 177
Freud, Siegmund
xxiii–xxiv, 51–55, 57, 63, 72, 74–78, 83–84, 93, 127, 142–143, 177–178, 263–264, 302, 367, 399, 479, 513–514, 544, 546–548, 591, 601–602, 652
Fried, Michael
314–315, 319, 321, 344, 468–469
Friedan, Betty
74–75
Friedhof
502, 573, 582, 586, 615, 701
Friedkin, William
67–68, 490
Furcht
28, 137, 301, 378, 500
Futurismus
xvii
Galton, Francis
315
Gebärmutter
60, 62
Gebärmutterneid
75, 547
Gegenübertragung
92–95, 100
Gegenwart
6, 16–17, 19–21, 29, 35, 72, 79, 124, 135, 144–145, 168–170, 180, 212–213, 216–217, 220–221, 223, 240, 246, 248, 260, 265, 267, 269, 273–274, 276, 279, 290–291, 294, 298–299, 345, 364–368, 392, 397, 426, 437, 456, 486, 525, 540, 587, 605, 609, 618, 661, 665, 669, 673, 677, 685–686, 704–706
Genette, Gérard
32–33, 35, 536
geschichtliche Zeit des Werks
13, 87
Geschichtlichkeit
xviii, 222, 347–348, 435, 454, 487, 533, 673
Geschlechterrolle
75, 80, 384, 425, 463, 485, 491, 543, 561, 637–638, 641, 654
Geschlechtlichkeit
63–64, 66, 69, 75, 356–357, 362, 424, 450, 462, 552, 641
Gesicht
89, 187, 372, 379, 391, 420, 428, 431, 439, 442, 458, 461, 480, 488, 492, 498, 505, 511, 595, 612, 642, 644, 689
Gestalt
xxiii, 23–24, 32, 34, 36–38, 42, 48, 54, 58–60, 70, 72, 113, 115, 154–157, 162–163, 170, 183–184, 205, 218, 222, 227, 230–231, 234, 239, 257, 273, 280, 289, 294, 298, 300, 308, 311, 315, 318, 322, 327–328, 330, 337, 343, 348, 350, 361, 369, 372, 384, 394, 423, 426, 473, 477, 499–501, 514–515, 525, 540, 554, 564, 580, 595–596, 612, 621, 635, 640, 642–643, 651, 653, 663, 678–681, 687, 695, 698
Geste
viii, 9, 49, 104, 149–150, 284, 335, 353–354, 361, 365, 372–373, 379, 381, 383–384, 389, 395, 397, 427, 430, 437, 454, 460, 466, 469–470, 477, 484, 487, 495, 501, 509, 520, 523, 531, 553, 587, 613, 617, 621, 629–630, 651, 654, 673, 680
Gilbert & George
627, 630
Gleichgültigkeit (belle indifférence)
68, 421, 481, 701
gleichschwebende Aufmerksamkeit
52, 56, 92, 94, 532
Gleichzeitigkeit
21, 32–33, 60, 279, 383, 454, 521, 698, 703
Gombrich, Ernst
xvi, xxiii, 24, 30–31, 36, 38–39
Gomringer, Eugen
250–251
Grabstein
217, 582, 615–616, 625, 661
Grave, Johannes
xix–xx, 13, 37–39, 59, 89, 99
Graw, Isabelle
xxvii–xxviii, 352–353, 369, 392–393, 400, 417, 453
Greenberg, Clement
xiii, 103–104, 120, 394
Grenze
19, 21, 39, 48, 70, 129, 138–139, 142, 167, 176, 186, 207, 229, 246, 260, 274–276, 289, 299, 321–322, 357, 363, 532, 566, 575, 594, 604, 625, 640
Groteske
499–503, 511, 513, 518–519, 521, 524–525, 640, 679, 691, 706
Gruppenporträt
8–9, 601
Guibert, Hervé
540, 625, 655–657
Hammer-Tugendhat, Daniela
41, 372, 375–376
Handlungsträger als Emotionsträger
372, 379, 380, 427, 433, 475, 682
Handlungsträger
8–9, 33, 43–44, 49, 376, 420–421, 466, 472, 532, 562, 612, 681
Hansen-Löve, Aage
56, 602–603
Hassan, Ihab Habib
345
Hegel, Georg Wilhelm Friedrich
8, 88, 321
Heimann, Paula
93
Heldenfigur
80, 184, 314, 387–388, 404, 434, 436, 452, 500, 597, 602, 634–636, 641, 693
Heldenreise
597
Hiroshima
173, 181, 185–187, 200, 203
histrionisch
356, 360–361, 423, 440, 454, 531, 554, 598, 611, 631, 633, 640, 646–647, 656, 663
Hoffmann, E. T. A.
514, 597
Hokusai, Katsushika
154–155, 159
Honisch, Dieter
284–285, 289, 298, 300, 699
Hooper, Tobe
492–493, 501, 503, 519
Horaz
373
Horney, Karen
75, 547
Horrorfilm
473, 475, 487–494, 498, 501–504, 522–523
Huebler, Douglas
123, 243–245, 256–257, 340
Husserl, Edmund
xxiii, 5–8, 15, 19, 51–53
Hyperrealismus
124, 337, 457, 645
Hysterie
51, 54, 60–66, 69, 74, 355–357, 360, 364–365, 367, 381–382, 384, 389–390, 399, 422–423, 439–440, 472, 481, 500, 521, 691
hysterische Konfliktverarbeitung
xxv–xxvi, 54, 354–367, 382, 421, 423, 440, 471, 478, 482, 520, 636, 663
Ich
,
see Strukturmodell der Psyche
Ich-Entgrenzung
215, 259
Ich-Funktion
95, 98–99, 127–129, 157
Iconographie photographique de la Salpêtrière
60, 63, 67–68, 382
Identifikation mit dem Angreifer
175, 177–178, 189, 207
Identifikation
177, 217, 294, 360, 369, 389, 392–393, 397–399, 404, 424, 439, 468, 478, 491, 493–494, 515, 533, 553–554, 561, 574–575, 580–581, 583, 587, 601, 613–614, 618–620, 638, 640–641, 697
Identität
80, 84–85, 174, 325, 336–337, 342, 351, 384, 397–398, 423, 429, 440, 458, 462–463, 469, 471, 477, 517, 529, 533, 539, 542, 545, 555, 585, 608, 612, 614, 645–646
Ikon
318, 328
Ikonografie
185, 200, 382, 439, 475, 509
Image
388–390, 405–406, 412, 419, 421, 424–425, 433, 436–439, 441–442, 444–448, 450, 452, 454, 472–473, 481–482, 484, 486, 518–520, 529–530, 542, 548–549, 551, 557, 562, 571–572, 591, 598, 604, 609, 617–618, 622, 624, 627, 634, 642, 664, 683, 692–693
imaginativer Modus
26–27, 136
implizite Informationsintegration
24, 39, 41
impliziter Betrachter
xvi, 9–10
impliziter Leser
xv–xvi, xix
Impressionismus
xvii, 158, 165, 345
impressionistischer Stil
358, 361, 454, 530, 534, 543, 584, 590, 622, 675, 696, 706
Index
78, 165, 318, 341, 429–430, 432, 608, 676–677
Individuelle Mythologien
539, 634, 692
Indiz
39, 55, 94, 100, 275, 318, 533, 653
Ingarden, Roman
xv, xxiii, 7–8, 87, 89, 92
inneres Gewahrwerden
4
Instrumentalität
43, 97, 248, 260, 482
Intellektualisierung
139, 511
intellektueller Modus
26–30, 115, 117, 119, 121, 125, 127, 131, 134, 135, 144, 147, 152, 158, 167, 169–170, 230, 280, 291, 304, 306, 316, 351, 532, 654, 676
Intentionalität
xv, xxvi, 4–7, 14–16, 40, 46–47, 51, 136, 206, 212, 222, 252, 414, 504, 548
interpersonelles Circumplexmodell
14, 42–43, 47
interpersonelles Verhalten
42–44, 47–48, 96, 98, 140, 249, 252, 360–361
Intimität
49, 245, 251, 253, 268, 388, 424, 453, 484, 490, 496–498, 510, 519, 523, 531, 534, 543, 548, 551, 553, 555, 559–560, 568, 571, 575, 580, 584–585, 590, 606–608, 615, 619–621, 642, 648, 652, 654–655, 662, 673–674, 684, 702
irreversibel
15, 17, 27–29, 145, 165, 220–221, 246, 260, 281, 285, 292, 294–299, 302, 304, 320, 323, 332, 367–368, 436, 486, 518, 521, 523–524, 609, 637, 649, 650, 657–658, 670, 678, 703, 708
Irritation
xxxi, 70, 193–194, 238, 337, 353–354, 361, 368, 372, 395, 400, 461, 470, 486, 496, 511, 521–522, 524, 537, 556, 561, 574, 599–600, 628, 633, 648, 707
Iser, Wolfgang
xv, 39
japanische Ästhetik
153–154, 156, 158, 172, 182, 184, 188, 208–209, 277–278, 685, 697–698
Jauß, Hans Robert
xv, xxiii, 10
Jencks, Charles
345
Jetztzeitlichkeit
216, 275
Jones, Amelia
552
Jung, Carl Gustav
53, 73, 431–432, 566, 597, 642, 646–647
Kalender
14, 172, 212–213, 221, 227, 232, 234, 236, 239, 248, 270, 272–273
Kant, Immanuel
22, 28, 116
Karikatur
76, 372, 420
Kast, Verena
702
Kastrationskomplex
74, 76–78, 80, 446–447, 514, 545, 693
Kategorisierung
25, 83, 108, 152–153, 158, 167, 195, 260, 310–311, 314, 317, 332, 353, 358, 434, 521, 684
Katsura Villa
277–278
Kausalität
xxvi, 19, 23, 29, 46, 52, 97, 363–364, 400, 576, 662–663, 665, 675, 701, 706–707
Kawara, On:
Bathroom Series
181, 182–186, 189, 191, 222, 228, 701
Codes
204–206, 211, 224, 262
I Am Still Alive
171, 261, 262–263, 265–268, 695, 699
I Got Up
171, 240–241, 242–249, 257–260, 266–269, 331, 676, 679, 688, 695
I Met
171, 240–241, 248–249, 250–253, 257–260, 266–267, 276, 674, 685, 688, 695
I Read
171, 237–237, 238–240, 248, 257, 673, 685
I Went
171, 240, 253–254, 256–260, 266–267, 269, 272, 674–675, 685, 688, 695
Journals
171, 211, 232, 233–237, 242, 248, 257, 269–270, 331, 676–677, 685
Location
198, 201–204, 207, 211–212, 254
Nothing, Something, Everything
194–195, 198–200, 206, 226
One Million Years: Past & Future
171, 270–276, 672, 704
Paris-New York Drawings
196–197, 211
Printed Paintings
192, 209, 245
Thanatophanies
191, 206
Title
198–201, 203–204, 207, 211–212, 219, 235, 254, 262–265, 270
Today Series
171, 207, 209, 210–215, 217–224, 225–230, 231–232, 234–237, 240–241, 246–249, 258, 262, 265–267, 269–270, 272, 276, 278, 280, 304, 306, 338, 670–673, 680, 684–685, 695, 699–700, 704–706
Kemp, Wolfgang
xv–xvi, xix–xxi, xxiii, 8, 10–11, 13–14, 32–33, 35, 40, 44, 99, 154
Kino
,
see Bewegtbild
Kippenberger, Martin
352
Klein, Melanie
xxiii, 81–83, 547
Kognition
xxv, 14, 22, 27, 96–97, 139, 331, 358, 440
kognitive Bewältigung
24–26, 40, 94, 99, 170, 323, 359, 366, 455, 705
kognitiver Stil
16, 96
Kompositfotografie
315, 686
Konfliktbewältigung
xxxvi, 76, 80, 97–98, 127, 129, 173–180, 221, 236, 303, 329, 359, 479, 601, 662, 698, 701–703
Konkrete Poesie
250–251
Kontrolle
48, 61, 94, 128, 135, 138–139, 151, 176–177, 236, 239, 301, 342–343, 443, 481, 483, 513, 531, 533, 545, 555, 561, 571, 593, 615, 617, 640, 651–652, 654, 682, 691, 694
Kontrollverlust
189, 191, 222–223, 257, 363, 371, 447, 497, 518
Konversion
356, 360
konvulsive Schönheit
60, 64
Konzeptuelle Kunst
xxix, 104–105, 119–120, 122–128, 134, 137, 169, 209, 233, 335, 351, 669
Kopie
55, 226, 275, 346, 354, 369, 392, 396, 410, 441, 466, 471, 643
Kosellek, Reinhard
18–19
Kosuth, Joseph
xiii, 104, 107–108, 109–111, 116, 123, 130, 147–148, 150–151, 158, 168, 170–171, 194–195, 197, 207, 209, 213, 237, 290, 336, 338–339, 350, 529
Kraft, Hartmut
xxi, 87, 90, 99
Krankheitsgewinn
358, 360
Krauss, Rosalind
74, 148, 168–169, 350, 471, 477, 494, 515, 629
kreativer Prozess
113, 127–130, 134–135, 137, 147, 153–154, 183, 219, 276, 352, 391–392, 528, 541
Kris, Ernst
127
Krise
201, 346, 407–408, 465
Kristeva, Julia
81, 83–84, 516–517
Kruger, Barbara
80, 342
Kubismus
xvii, 38–39, 74, 169, 218, 285, 392, 707
Kühn, Heinrich
558
Kunstfigur
418, 542, 543, 549, 627, 640, 648, 663
kunsthistorische Expertise
10, 24
Künstlerbiografie
xxiv, 55, 95, 202, 208, 251, 260, 283, 295, 403–404, 406, 459, 461, 467, 473, 479, 518, 527, 535, 539–544, 548–550, 561, 564, 567, 571, 580, 596, 615, 623, 633, 648, 664, 688–689, 692–693, 696–697, 707
Künstlerpersona
35, 152, 191, 206, 213, 218, 280, 385, 404, 408, 542, 591, 614, 646, 663, 670, 693–694, 698
Kunstsystem
xxx, 56, 76, 103, 119, 123–126, 129, 192, 213, 243, 267, 276, 290, 316, 328, 335, 338, 346, 385, 394, 453, 500, 529, 547
Kunstwollen
8
Lacan, Jaques
73, 79, 83–84, 447, 507, 547–548
Land Art
208, 539–540
Lange, Susanne
311, 316
Langeweile
49, 248, 486, 524, 527, 575, 630, 633, 640, 661
Latour, Bruno
81
Lavater, Johann Caspar
430, 646
Le Brun, Charles
376–377, 379
Le Gac, Jean
337, 539–540
Leary, Timothy
42–43, 46
Leder, Helmut
xx, 14, 21, 23–25, 99–100
Leere
21, 72, 79, 202, 206, 231, 294, 359, 368, 417, 419, 423, 451, 477, 486, 489, 524, 565, 575, 598, 605, 611, 647, 650, 662–664, 708
Leerstelle
xv, xix, 11, 79, 113, 128, 156–157, 195, 225, 227, 238, 252, 258, 309, 342, 351, 380, 398, 415, 420–421, 440, 460, 483, 509, 531–532, 541, 565, 573, 581, 584–585, 588, 590–591, 599, 604, 606, 633, 661–663, 673, 675, 679, 683, 689, 693
Lessing, Gotthold Ephraim
xvii, 30
Levine, Sherry
xxix, 342, 346–347, 353–354, 394–398, 400–401, 409, 442, 454
Lewin, Kurt
42
LeWitt, Sol
xiii, 107, 112–113, 114–118, 123, 127, 130–131, 133–135, 137, 147–148, 151–152, 157–158, 168–171, 192–194, 205, 207, 209, 224, 240, 245, 276, 283, 290, 301–302, 321, 336, 338, 343, 349–350, 426, 532, 541
Lichtenstein, Roy
469–470
lineare Zeit
17, 20, 30, 114–115, 169–170, 179, 221, 227–230, 247, 272–273, 277, 293–295, 297, 299, 303, 305, 321, 368, 395, 410, 609, 655, 672, 680, 685–686, 688, 699, 702–704
Linie
xvii, 23, 38, 58–60, 84, 154, 253–254, 255, 308, 311, 364–365, 645
Lippard, Lucy
119–122, 125–126, 215, 225, 240, 245, 249, 262, 272
Lipps, Theodor
53
Liste
148, 153–158, 207, 234, 237, 241, 249, 251–253, 270, 274, 304, 312, 317–318, 403, 485, 588, 674
Longo, Robert
xxix, 370–371, 380–381, 458, 472, 511
Macel, Christine
527, 536, 539, 551
Märtyrer
200, 314, 388, 445, 449
male gaze
79–80, 420, 475, 477–478, 501, 504, 509–510, 561, 571, 641, 654, 682, 691
Malevich, Kazimir
284, 296
Man Ray
429, 462
Manipulation
206, 318, 361, 373–374, 383–384, 410–411, 413–414, 419, 426–427, 438, 441, 447, 453, 455, 523, 537, 693, 695
Mann, Thomas
557
Mantra
266
Marlboro Man
,
see Cowboy
Maruki, Toshi und Iri
187–189, 190, 204, 327
Maske
379–381, 384, 391, 419–420, 431, 435, 484, 492, 512, 518, 563, 566, 572, 592
Massenmedien
xxx, 201, 340–341, 370, 385, 418, 439, 448, 461, 679, 681, 687, 694
Masson, André
58–59, 61, 386, 507
Materialästhetik
13, 84, 99, 105, 107, 117, 120, 157, 214, 239, 274–276, 280, 284, 291–292, 312, 347, 679, 694
Mechanisierung
184, 346, 394
Meditation
215–217, 220, 222–223, 227, 246, 259, 265–266, 275, 294, 299, 705
mehrdimensionale Fallkonzeption
xxv, 97–98, 400
mehrfach zirkuläre Selbst-Objekt-Passage
91, 99, 421
Melancholie
348, 366, 438–439, 556–557, 582, 609, 614, 620, 634
menschlicher Maßstab
227, 231, 269–270, 272, 289, 296, 299, 302, 331, 671, 690, 700, 703–704
mentaler Modus
26–27, 29, 97–98, 113, 115, 131, 135–137, 138, 144–145, 157, 215, 236, 260, 272, 304, 358, 366, 411, 422, 687, 700
Mentzos, Stavros
xxiv–xxv, xxviii, xxxi, 54, 65, 69, 97–98, 139, 178, 354, 357–363, 365, 367, 381–382, 390, 400, 421, 495, 521, 536, 633, 636
Merleau-Ponty, Maurice
44–45
metaphysische Malerei
565, 683
Metz, Christian
78, 420, 626
Michals, Duane
528, 537–538, 565, 586, 643, 645–646
Mimik
42, 44, 297, 372, 374, 376, 378–380, 419, 433, 458, 461, 466, 472, 495, 497, 501, 505, 508, 510, 515, 679
Minimalismus
74, 90, 117, 124, 208, 283, 344, 422
Mischwesen
499–500, 518, 521
Mitscherlich, Alexander und Margarete
xxiv, 412
Modell der ästhetischen Erfahrung
xx, 14, 22, 26, 40, 99
Monet, Claude
xvii, 158–161, 162–167, 223, 452
Morelli, Giovanni
55
Mulvey, Laura
79–80, 419–420, 475, 477–478, 482, 504, 514, 561, 641, 682
Mutter
74, 76–79, 81, 185, 187, 399, 404, 442, 446, 450, 457, 478, 527, 544, 612, 614–616, 636, 648, 651
Mythos
76, 399, 431, 433, 435–436, 439, 441, 446, 452, 486, 491, 503, 557, 561, 573, 628, 681–682, 701, 706
Narration
31–33, 115, 188, 191, 199, 206, 227, 248, 264, 323, 461, 467, 469, 489, 498, 536, 539–540, 563, 600, 610, 623, 628, 647, 655, 679, 687
Narrative Art
337, 342, 539
Narrem
33–35, 320, 420, 435, 466
Narzissmus
49, 75, 79, 91, 359–360, 380, 388, 421, 425, 431, 482, 494, 524, 591
neurotischer Stil
96–97, 137–138, 357–358
Nietzsche, Friedrich
341, 565
Nostalgie
366, 426, 436–437, 454, 482, 557, 705
Oberflächlich
21, 69, 164, 172, 234, 249, 353–355, 359–360, 372, 395–397, 401, 406, 414, 423, 425–427, 432, 437, 454, 457–458, 461, 463, 469–471, 475, 485–486, 510, 518, 520, 523–524, 529, 537, 546, 553, 556, 568–569, 571, 583, 587, 591, 596, 603, 608, 617, 627, 629, 655, 663, 669, 675, 679, 692, 696, 707
Objektbeziehungstheorie
xxiii–xxiv, 42, 81–82, 84, 91–94, 99
objektive Selbstaufmerksamkeit
479
objektive Zeit
6, 14, 36, 160, 165, 227–230, 280, 703
objektives Abbild
28, 36, 64, 103–104, 189, 260, 269, 310, 322, 327–328, 346, 384, 558, 598, 673, 675, 696
October
343–344, 468
Ödipuskomplex
76–77, 399–400, 404, 446, 478, 514, 544, 546–547, 550, 572, 574–575, 580, 587, 596–597, 601–603, 612, 614, 618–619, 623, 635–636, 648, 651, 660, 691, 693
Opałka, Roman:
Autoportraits
287, 288, 297, 302, 331, 672, 678
Cartes de voyage
288, 302, 304, 694
Detáil
285–286, 287–288, 291–292, 293–295, 297–299, 303–304, 670, 694
Original
105, 341, 346–347, 351, 353–354, 370, 391, 396, 405, 410, 415, 445, 447, 450, 466, 469, 471, 491, 523, 643, 673
Osborne, Peter
104, 106
oszillierende Bewegung
90, 179, 244, 269, 294, 302, 322, 354, 361, 373, 388–389, 391, 398, 482, 498, 500, 509, 519, 536, 541, 543, 556, 584, 590, 594, 641–642, 652, 670, 697, 702–703
Owens, Craig
347–350, 353, 366, 381, 384
Parallelhandlung
32–33
paranoid-schizoide Position
81–82
paranoisch-kritische Methode
69–70, 72–73
Partizipation
43–44, 119, 363
Passant
131, 133, 257, 528, 551–552, 556, 583, 587, 588, 590, 595, 621–622
passive Zeitlosigkeit
30, 319, 667, 677, 680, 686, 706–707
passiv-reaktiv
135–137, 351, 358, 363, 366, 368, 411
Peichl, Jochen
175–176, 180, 183, 189–191
Peirce, Charles Sanders
318
Penisneid
74–75, 544, 547
Performancekunst
xiii, xxvii, 74, 120, 271–272, 275, 343, 344, 458, 462, 472, 535, 538, 672
Performanz
xiv, 65, 69, 139, 239, 275, 464, 471, 475, 478, 482, 498, 520
Persona
385, 404, 431, 471, 591, 614, 646, 663
Personenperspektive
11, 44, 420, 554, 621, 634
persönliche Signifikanz
xxiv, 16, 27–28, 53, 81, 200, 206, 208, 214, 222, 227, 234, 249, 269, 274, 280, 325, 375, 472, 581, 588, 616, 658, 662, 684, 686, 693, 696, 701, 703
Perspektive
11, 34, 44, 161, 167, 233, 241, 242, 248, 258, 269–270, 331, 396, 429, 433, 443, 465, 477, 480, 493–494, 506–507, 510, 535, 564, 580, 590, 608, 621–622, 631, 663, 678, 684
Perücke
386, 390–391, 465, 467, 559, 568–569, 571–572, 587, 591, 594, 614, 616, 622
Perzeption
22, 29, 39–40, 112, 136, 160, 247, 269, 298, 342, 363, 365, 375
perzeptuelle Analyse
23–24
perzeptueller Modus
26–27
phänomenales Feld
45, 90
Phänomenologie
xxiii, xxv, 5–8, 15, 23, 52–53, 74, 89–90, 96–98, 100, 138, 164, 173, 400, 590
Physiognomik
375–376, 430, 646
Picasso, Pablo
57, 200
Pinselstrich
38, 201, 292, 294, 316, 338, 670
Platon
17, 29
Pollock, Jackson
73–74, 135
Pop-Art
74, 192, 208, 335, 339–340, 370, 387, 394–395, 405, 413, 426, 429
Pöppel, Ernst
15
Porträt
191, 206, 297, 314–315, 370, 379–381, 384, 417–422, 424, 430, 444, 457–458, 462, 469, 471, 520, 522–523, 541, 587, 619–622, 624–625, 656, 680–681, 689, 701, 705
Posieren
381, 691
Postkarte
240–249, 258, 267, 269, 290, 305, 539, 676, 679, 696
Postmoderne
xxix–xxxi, 126, 337, 344–356, 361, 367, 369–370, 380–381, 384–386, 392–394, 403, 407, 411, 453, 464, 468, 478, 486, 498, 500, 503, 522, 535, 557, 642, 644, 691, 705–706
Poststrukturalismus
340–341, 345, 547
Präsenzzeit
6, 15, 17, 21, 29
Prince, Richard:
8–Track Photography
411, 414, 428, 454, 692
dracularise
422–423, 692
Eleven Conversations
408, 416, 680
Spiritual America
442, 444–452
Untitled (cowboys)
433–434, 437–438, 440–441, 445, 452, 681, 687, 701
Untitled (four women looking in the same direction)
417–418, 420
Untitled (four women with their backs to the camera)
428, 430, 432
Untitled (living rooms)
411–412, 426, 451, 687
Untitled (mixed couples)
424–425
Untitled (sunset)
447
Prinzhorn, Hans
61, 63
Produktionsästhetik
xxv, 99, 670
Produktionszeit
88, 200, 213, 215–217, 237, 266, 272, 280, 304, 320, 331, 401, 418, 669
Projektion (Abwehrmechanismus)
82, 177, 597, 615, 638
Projektion
xv–xvi, xxi, 11, 32, 35, 48, 384, 431, 439, 466, 484, 500, 509, 532, 602, 689, 694
Projektionsfläche
297, 376, 390, 430, 439, 514, 654, 661, 681–682, 691
projektive Identifizierung
81–83, 206
Prolepse
32–33, 485
Proposition
107–108, 116, 147, 150–151, 157, 193, 329, 336, 342, 529, 651
Protention
6, 294
Protokonzeptuelle Kunst
119, 123, 193, 200, 236, 317, 394
Pseudoidentifikation
360, 370, 406, 423, 439–440, 463, 532
pseudo-progressive/regressive Inszenierung
359, 361–362, 390, 437, 440–441, 445, 452, 456, 467, 482, 484, 501, 509, 518, 530, 568, 571, 587, 591, 608–609, 616–621, 624, 636, 642, 646, 652, 657, 664, 683
psychoanalytisches Setting
xxi, 87, 93, 96, 142, 532, 541
Psychogeografie
255–256
psychologische Ästhetik
xx, xxii–xxiii, 3, 22–23, 40
Quasisubjekt
88–92, 94, 100, 351, 519
Rank, Otto
597, 601, 635
Raster
34, 157, 168–170, 470, 530, 606, 683
Rationalisierung
139, 260, 301–302, 381, 481, 500, 511, 542
raumzeitlicher Zusammenhang
xvi, 5, 175, 180, 189–190, 196, 201, 204, 215, 223, 227, 239, 265, 267–268, 276, 313, 319–321, 324, 326, 331, 345, 380, 395, 406, 657, 669, 671–672, 681, 686, 698, 704
Rauschenberg, Robert
345, 398
Readymade
104–105, 108–110, 147, 150, 193, 392, 410, 651
Reagan, Ronald
436–437
Realismus
228, 343, 444, 507
Realitätsprinzip
29, 51, 56, 71, 117, 147, 151, 168, 341, 359, 362, 368, 468, 514
reflektierter Nachvollzug
xxvi–xxvii, 21, 38, 48, 87–88, 114–115, 128–131, 151–152, 170, 205–206, 215, 217, 258, 260, 269, 280–281, 293–294, 298, 304, 313, 321, 323, 337, 353, 375, 382–383, 393–394, 396, 426, 433, 437, 554, 580, 583, 625, 657, 685–686, 688, 701, 704–705
Refotografie
342, 346, 355, 370, 392, 396, 403, 408–411, 413–419, 421, 424–426, 428, 430, 432–434, 437, 442, 445–446, 448–456, 680, 687, 692, 701, 705
Regression im Dienste des Ichs
127–128
Regression
57, 127–128, 143, 391–392, 435, 443–445, 472, 477, 493, 497, 549, 562, 568, 572, 603, 617, 619, 648
Reise
57, 171, 192, 195, 206, 224, 229, 240, 242, 248, 253, 257, 265, 288, 302, 304, 310, 404, 527, 534, 537, 559, 570, 594–596, 654–657, 694–696
Rembrandt
375–376, 379–380
Reinszenierung
xxx, 177–178, 370, 380, 382, 437, 467, 475, 490, 509, 524, 574, 626, 638, 683
Rentsch, Stefanie
535, 539–540, 542–543, 546, 549, 556–557, 571, 599, 612, 631, 639, 649
Reportage Art
172, 181, 184–185, 278, 697
Reproduktion
xxx, 7, 18, 105, 165, 218, 227, 236, 242, 272, 317, 337, 343, 346, 351, 353, 384, 393, 396, 407, 409–410, 415, 418, 420, 427, 429, 437, 454, 469, 470–471, 598, 681
Retention
6, 294
reversibel
xxxi, 15, 17–18, 21, 28–29, 115, 131, 133, 141–142, 145, 151, 170, 191, 248, 260, 280–281, 285, 292, 294, 298, 304, 323, 393, 426, 441, 455, 701, 703, 707
Rezeptionsangebote
xvi, xx, xxvii, 10–11, 13, 21, 33–34, 41–44, 46, 49–50, 94, 99, 128, 130, 140, 151, 211, 215, 236, 248, 272–273, 292–294, 299, 352, 376, 380, 420, 450–451, 483, 495, 497–498, 501–502, 511, 520, 522, 532, 554–555, 590, 620, 670, 684
Rezeptionsästhetik
xiv–xvii, xix–xx, xxii–xxxi, 3, 8, 10, 13, 35, 43, 51, 87, 89, 92, 99–100, 378
rezeptionsästhetische Sphäre
xiv, xxi, 45, 99, 103, 106–107, 127, 222, 329, 335, 342, 345, 351, 393, 483, 537, 689
rezeptionsästhetische Temporalität
xix–xx, xxvii–xxix, 13–14, 30–32, 39–42, 46, 48, 59–60, 87–88, 100, 130–131, 151, 166, 169, 215, 217, 219, 228–230, 234, 239–240, 244, 247–248, 268, 273, 275–276, 280, 293–294, 299, 318–319, 321, 323, 329, 332, 350, 353–354, 361, 365, 376, 395, 400, 406, 408, 423, 426, 451–452, 454, 470, 487, 493, 495, 499, 520–521, 524, 532, 566, 590, 663, 665, 669–670, 674, 677, 680, 685, 688, 689, 691, 704, 706–708
Rezeptionszeit
13, 21–26, 35, 36–38, 40–41, 46, 48, 89–90, 99–100, 115, 119, 156, 215, 239, 252, 351, 641–642
Rhetorik
72, 74, 372–374
Rhythmus
6, 15, 32, 35, 38, 142, 154–155, 230–231, 248, 252, 275, 284, 293, 588, 605, 656, 674, 678, 698, 707
Riegl, Alois
xxiii, 8–10, 43–44, 48, 51, 376
Rieman, Fritz
141–143, 303, 357, 363–364
Rigidität
122, 134–135, 137–138, 141, 143, 152, 168, 170, 206, 223–225, 228–230, 236, 238, 247, 257, 260–261, 268, 275–276, 280, 290, 295, 297, 301–302, 319, 324, 328, 331, 351, 363, 394, 524, 532, 553, 569, 686, 694, 698, 700, 702
Ritual
138–139, 143–145, 148, 170, 215, 223, 246–247, 260–261, 267, 294–295, 302, 304–305, 531, 538, 545, 569, 599, 603, 648–651, 653–654, 659, 661, 663–664, 673, 677, 690, 697, 705
Ritualisierung
142, 147–148, 151–152, 271, 212, 220, 237, 247, 260, 272, 276, 294, 300–301, 306, 316, 328–331, 338, 349, 393, 399, 535, 538, 639, 647, 648–649, 654, 662–664, 669–671, 673, 677, 686, 688, 690, 692, 696–697, 702
Roeg, Nicolas
577–578, 593
Romantik
326, 436, 440, 447, 454–455, 460, 489, 502, 530, 548, 557, 564, 566, 582, 584, 599, 614, 621, 626–627, 633–634, 639, 692
Rorimer, Anne
194, 198, 217–218, 223, 225, 239–240, 243, 249, 253, 256, 258–259, 274
Ruscha, Ed
317–318, 588–590
Sander, August
314
Sante, Lucy
534–535, 684
Scham
28, 75, 359, 449–450, 472, 479–481, 510–511, 518, 591, 602, 617, 620, 623, 656, 683, 700
Schatten
165, 307, 311, 320, 375, 428, 430–433, 438, 472–473, 488, 490, 497, 501, 564–566, 582, 595, 599, 601, 623, 626, 633, 643–645, 679, 701
Schatten (Archetyp)
431–432, 447, 566, 597, 614, 642–643, 646
Schattenselbstporträt
430–431, 566, 577, 643–646
Schaulust
80, 251, 390, 475, 477–479, 484, 494, 500, 506, 508–510, 519–521, 524, 534–535, 551, 555, 562, 575, 577–579, 584, 591–592, 594–596, 603, 606, 611, 622–623, 626, 633, 656, 674, 684
Schauspiel
21, 367, 377, 389, 463, 467, 470, 473, 484, 501, 520, 683
Schauspieler/–in
354, 356, 388–389, 418, 420, 431, 436, 449, 465, 468–469, 484
Schemata
xv, 33–34, 83, 121, 131, 133, 504, 521, 584
Schicksal
16, 27, 186, 203, 261, 270, 283, 297, 363, 368, 388, 399, 497, 610, 657, 706
Schor, Gabriele
457–458, 462–463, 480
Schreibmaschine
207, 232, 240, 244, 249–251, 256, 270, 276, 290, 674
Schreibmaschinenkunst
250
Schube, Inka
531, 543, 546, 641
Selbstbestimmung
54, 117, 134–137, 140, 180, 212–213, 223, 246–247, 257–260, 265, 267–268, 276, 279–280, 302, 304–305, 343, 353, 359, 407, 433, 479, 490, 497, 529, 545, 557, 560, 638, 674–675, 697, 700, 704
Selbstdisziplin
222, 276, 650
Selbstinszenierung
75–76, 96, 297, 351, 380 384–386, 387, 390, 403–404, 412, 419–420, 460, 485, 542, 545, 548–549, 568, 571–572, 591, 616–617, 624, 636, 638, 641–642, 656, 664, 691, 693
Selbstporträt
287, 297, 302, 331, 391, 397, 430, 457, 462, 523, 535, 566, 577, 591, 610–614, 621, 640, 643–645, 672, 678, 690
Serialität
xxx, 23, 104, 131, 148, 157–161, 164, 167–168, 170–171, 191, 205, 207, 220, 223, 227, 230, 241, 247–248, 298, 314, 317–318, 324, 328, 330–332, 341, 351, 384, 387, 393, 411, 416–418, 420, 422, 425–427, 433, 437, 454, 458, 463, 469, 487, 518, 524, 538, 540, 590, 643, 669, 671, 681, 687–688, 695
Sexualisierung see Erotisierung
Sexualität
56, 75, 77, 409, 425, 491, 497, 511, 520, 547, 606, 626, 636–637
Shapiro, David
96–97, 135–140, 142, 357–358, 361, 363, 366, 440
Sherman, Cindy:
A Play of Selves
459–461, 466, 473, 479–480, 523
Air Shutter Release Fashions
480–481
Centerfolds
488, 489–491, 492–495, 498, 501, 520–521, 524, 700
Cover Girls
460–461, 466, 486, 681
Disasters
500, 511, 516, 517–519, 521–522, 524, 691
Doll Clothes
458
Fairy Tales
500–502, 504–505, 510–512, 518–521, 524
History Portraits
522
Horror and Surrealist Pictures
522–523
Murder Mystery
459
Pink Robes
495, 496–498, 501, 520–521
Scale Relationship Series
458
Sex Pictures
522
Untitled Film Stills
464, 465–473, 474–475, 476–477, 479–482, 484–488, 490, 498, 500–501, 510–511, 520–524, 681–682, 687–688, 691, 694–695, 700
Shields, Brooke
442–446, 448–450, 452
Siegelaub, Seth
117, 123
Signifikant
78, 118, 130, 234, 425, 435, 437, 455, 471, 494, 498, 651, 676
Signifikat
130, 498
Simulakrum
340–341, 355, 436–437
Situationistische Internationale (S.I.)
255, 527
Slasherfilm
490–492, 494, 504
Smolik, Noemi
352, 483
Solomon-Godeau, Abigail
338, 482–483
Sozialistischer Realismus
184, 200
Spaltung
81, 130, 175–176, 200, 398, 460, 642–645
Spiegelbild
80, 91, 425, 430–431, 454, 463, 467, 472, 477, 479, 513, 597, 611, 625, 628, 631, 637, 640, 642–643, 646
Spiegelstadium
79
Sprache der Hysterie
65, 384, 500
Sprache
xviii, 18, 20–21, 85, 106, 108, 120, 130, 150, 180, 193–195, 205–206, 208, 212, 214, 220–221, 232–233, 241, 254–255, 260, 271, 273, 291, 336, 342, 349–350, 360, 372, 375, 413, 530, 536, 543, 574, 660–661, 671–672, 697, 707
Stadtplan
131, 244, 253–254, 256–259, 267, 269–270, 551, 583, 675, 696
Stadtraum
131, 242–258, 318, 464, 555, 558, 577, 588, 630, 633, 637
Staged Photography
464, 468
Star
382, 385–390, 468, 497, 624, 706
Stella, Frank
164, 183, 198
Stellvertreter
177, 207, 533, 539, 548, 568, 579–580, 595–598, 612, 621, 648, 652, 656, 660, 684, 698
Stempel
214, 237, 240–241, 243, 246, 249, 251, 254, 260–261, 267, 657, 660–661, 676, 702
Stereotypie
xxx–xxxi, 69, 75, 142, 145, 349, 360, 369, 382, 436, 451–452, 455, 466–468, 470, 478, 481, 488, 524, 642, 682, 688
Stieglitz, Alfred
430–431, 445–447, 566
Stimuluscharakter
46–47, 49
Stoichita, Victor Ieronim
430–431, 565, 643–646
Strukturmodell der Psyche
51, 56, 79, 81, 84, 95–96, 98–99, 127–129, 157, 175–178, 260, 358–359, 363, 399, 432, 459, 516–517, 597, 601, 645, 650
Strzemiński, Władysław
284
Stumpf, Carl
xxii, 23
Sturtevant, Elaine
394–398, 400
subjektives Zeitbewusstsein
xix–xx, 6–7, 14–16, 19, 21, 29–30, 35–37, 39, 41, 99, 119, 142, 156, 165, 169, 174–175, 179, 205, 216–217, 219, 230, 268, 273, 275, 280, 304, 364–365, 486, 519, 525, 685, 703, 707
Subjektkonstituierung
79, 81, 85, 246, 351, 478–479
Subordination
8–9, 44, 199
Sullivan, Harry Stack
xxiii–xxiv, 42
Suprematismus
284
Surrealismus
54–55, 57–58, 60–61, 69, 71, 73, 184, 314, 386–387, 513, 523, 537, 540–541, 556, 566, 597, 573, 600–601, 663, 696
Symbol
53, 73, 108, 120, 174, 185, 195–196, 200, 212, 217, 250, 255, 302, 325–326, 329, 348, 360, 436, 441, 446, 491, 545, 565, 628, 646, 651, 677, 703
Symbolismus
64
Symmetrie
23, 36, 198–199, 201, 257
Synthese
19, 23, 28, 37–38, 83, 108, 115, 128, 131, 144–145, 164, 167–168, 173, 180, 193, 204, 211, 265, 270, 278, 353, 684–687, 698
Szarkowskis, John
488
Szeemann, Harald
xiii–xv, xviii, xxv, xxviii, xxxi, 123–124, 243, 344, 539
Tagebuch
233–234, 385, 534, 550–551, 553, 555, 607–608, 610, 615, 628, 642, 656, 696
Tange, Kenzo
278
Taube
566, 568, 591, 633–634
Taut, Bruno
278
Telegramm
171, 261–268, 270, 700
Temperamentenlehre
372
tendenziöse Inszenierung
357, 359–362, 364–365, 368–370, 381–383, 390, 401, 406, 440, 484, 521, 571, 610, 612, 617, 621–622, 633, 636, 640–642
Text-Bild-Kombination
xxx, 336, 338, 527, 537, 541, 642
Theater
344, 367–368, 389, 463
Theatralität
343–344, 367–369
Tizian
55, 620–621
Todestrieb
81, 143
Tonband
271, 287–288, 298–299, 603, 672, 697
Transzendenz
274, 279, 295, 297, 299, 328, 330, 350, 687, 697, 705
Trauer
28, 329–330, 373, 378–379, 661–662, 698, 701–703
Traum
51, 55–57, 61, 73, 179, 191, 222, 246, 314, 319, 337, 388, 413, 437, 452, 468, 477, 480, 499–501, 520, 540, 564, 574–575, 599, 606, 608–609, 640, 687
Trauma
xxviii–xxix, 66–67, 98, 172–181, 183–184, 186–191, 195–197, 200–201, 203–204, 206, 212–213, 215–216, 221–222, 235–236, 239, 246–247, 264–265, 268–269, 279, 283, 299, 367, 384, 418, 423, 489–490, 493, 690, 698–699, 701–703
Traumaaffekt
173–174, 176–178, 180, 188, 190, 204, 206, 212–213, 215, 264, 367, 699–700
traumatisches Introjekt
176, 178, 181, 189, 195, 200, 213, 700, 704
Trennschärfe
99, 148, 167, 170, 332, 704
Trieb
xxiv, 42–43, 51, 55, 81, 84–85, 90, 98, 127–128, 143, 177, 359, 362, 399, 447, 514, 519, 521, 549, 568, 638–639, 642, 646
Triptychon
198–203, 211, 224, 262, 270
Übergangsobjekt
325, 704
Übergangsphänomen
325–326, 535, 651–652, 702
Übergangssituation
18, 73, 120, 139, 145, 172, 191, 223, 246–247, 258, 296, 299, 308, 363, 444, 499, 511, 515, 523, 558, 582, 612, 657–658, 703, 706
Über-Ich
,
see Strukturmodell der Psyche
Überraschung
113, 140, 172, 179, 293, 305, 378, 383, 451, 463, 499, 501, 514, 577, 584, 600, 615, 623, 625, 630, 639–640, 654, 700
Übertragung
xxii, 92–94, 118, 129, 142, 152, 170, 206, 239, 245, 268, 362, 368, 373–374, 398, 483, 532, 541, 561–562, 567–568, 574, 587, 596, 619, 642, 652, 655, 674
Ullrich, Wolfgang
147, 151, 379–380, 399, 558, 576, 582
Unbestimmtheit
,
see Leerstelle
unbewusst
xxvi, 51–54, 57–59, 71–74, 80, 84, 93–95, 142–143, 183, 189, 246, 354, 357, 364, 381, 399, 431, 522, 533, 541, 565, 598, 606
Unendlichkeit
xiv, 7, 19–21, 112, 115, 133–134, 145, 165, 169, 171, 214, 219–220, 222, 225–226, 287, 291–292, 295, 299, 304, 321–322, 420, 517, 523, 609, 661, 685
Ungeschehenmachen
xxviii, 139, 142, 266, 302, 305, 661
Unheimlichkeit
499, 509, 513–514, 516, 522, 565, 701
Unismus
xxix, 284–285, 289, 304, 685, 699
Un-Ort
189, 202, 212, 704
Unschärfe
65, 75, 201, 206, 353, 355–356, 369, 373, 379, 381, 385, 428, 430, 432, 437, 447, 455, 470, 481, 488, 503, 542, 554, 557–559, 561–562, 575–576, 578–582, 585, 587, 590–591, 593–596, 604, 611–612, 630–631, 633, 646, 648, 671, 682–683, 701, 704
Urszene
509, 626
Vahrson, Viola
394–395, 397–398
Valenz see Affektqualität
Variationen eines Themas
112–113, 133, 148, 154, 156, 158–160, 167, 305, 330, 423, 426, 532, 541, 550, 557, 610, 647–648, 664, 695, 701
Vater
77, 81, 192, 307, 403–405, 514–515, 527–529, 542, 544–545, 547–549, 561, 563, 567–568, 570–571, 577, 587, 593, 596–599, 601–602, 612, 616, 618–619, 624, 627, 636, 640, 648, 652, 656, 660, 693
Vatermord
76, 398–399, 601–602
Verdrängung
67, 78, 84, 90, 143, 184, 187, 195–196, 204, 263–264, 336, 348, 359–360, 367, 399, 407, 420, 432, 446–447, 472, 514, 566, 614, 618, 623, 628, 646, 696–698
Verehrung für das Sujet
151, 328, 330, 400
Verführung
356, 361, 363, 409, 424, 436, 440, 443, 445, 453, 456, 461, 482–483, 498, 500, 518, 520–521, 524, 528–529, 542–545, 547, 554, 561, 571–572, 582, 587, 598, 614, 618–619, 624, 628, 630, 633, 635–637, 640, 642, 652, 656, 660, 683, 691, 693, 696, 705
Vergangenheit
16–17, 19–21, 29, 45, 136, 141, 144–145, 168, 174, 179, 186, 192, 201, 212, 217, 220, 222, 239–240, 248, 267, 270–271, 274, 283, 363–364, 366, 456, 543, 605, 610, 634, 665, 704–708
Verhalten
xxv, 137, 139, 141, 145, 149–152, 168, 220, 259–260, 265, 292, 298, 302, 354, 359, 360–361, 363, 393, 427, 522, 528, 553, 583, 639, 648, 649–650, 654, 661, 671, 677, 680
Verkleidung
384, 457, 463, 467, 496, 518, 559, 566, 568–569, 591, 608, 683
Vermeidung
17, 25, 78, 133, 141–142, 199, 202, 306, 320, 425, 594, 623, 698
Verneinung
263–265
Verschiebung der Zeitperspektive
179, 240, 268–269, 279, 301, 523, 629
Verschiebung
xxxi, 21, 79, 191, 299, 322, 326, 347, 353, 446, 455, 479, 487, 490–491, 510, 511, 524, 553, 574, 638, 640, 650, 699–700
Verwicklung
, 45, 59, 404–405, 450, 453, 619, 629, 646–647
Visconti, Luccino
557, 577–578
von Ehrenfels, Christian
xxiii, 23, 54
Vorbild
147, 206, 241, 328, 337, 369–370, 392–400, 409–411, 421, 426, 428, 430, 433, 437–438, 441, 445–446, 451–452, 454, 456, 463, 466, 481, 490–491, 509–510, 520, 522, 537, 565, 681, 687, 693, 706
Vorstellungsform der Zeit
14–15, 17, 19–21, 29–30, 131, 141, 144–145, 164, 168–170, 217, 221, 223, 247, 258, 292, 294, 299, 306, 321, 323, 363–364, 367–368, 382, 605, 610, 703
Voyeurismus
,
see Schaulust
Wahrnehmungspsychologie
,
see allgemeine Psychologie
Wall, Jeff
464
Warenfetisch
403, 409, 412–414, 416–417, 420, 426–427, 449, 452
Warhol, Andy
218, 327, 335–336, 345, 387, 390–391, 394–396, 405, 413–414, 418–421, 426, 469, 643, 644–646
Watkins, Jonathan
172–173, 183, 185, 195, 200, 208, 215, 217, 227, 251, 273, 275
Weiner, Lawrence
xiii, 107, 117–118, 123, 127, 130, 158, 168, 170, 197, 207, 209, 240, 245, 350
Weiss, Jeffrey
196, 198–199, 207, 214, 241, 260, 264, 266
Welling, James
438
Werkstatt für potenzielle Literatur (OuLiPo)
541–542
Wiederholung
17–18, 32, 69, 133–134, 142, 144–145, 147–151, 164, 166–167, 169–171, 188, 196, 205, 219–221, 223, 226–229, 246–248, 252–253, 259, 264, 266, 275–276, 292, 294–295, 298, 316, 321–322, 326–331, 349, 392–400, 415, 417–418, 420, 427, 451, 455, 469, 471, 486–487, 524, 538, 543, 548, 557, 565, 568, 583, 605, 609–610, 624, 639, 651, 654, 660–662, 664, 669, 671, 675, 677, 681, 683, 685–688, 698, 701–703
Wiederholungszwang
142–143, 177, 418, 549, 619, 647–649, 655
Wille
8–9, 43–44, 48–49
Winnicott, Donald
xxiii, 325
Woo, Jung-Ah
172, 183, 235
Wundt, Wilhelm
14, 47
Zeichen
20–21, 49, 58, 78, 112, 120, 162, 185, 187, 193, 196–197, 204–206, 212, 214, 220, 287, 291–292, 303, 318, 324, 335, 341, 347, 352–353, 372, 374–375, 379–380, 390, 400, 424, 426, 433, 435, 439, 498, 511, 608, 651–652, 658, 670–671, 679, 684, 702, 704
Zeit der Bildrezeption
,
see Rezeptionszeit
Zeitbaum
18–19
Zeiterleben
6, 14–16, 30, 36, 119, 152, 167, 175, 216, 234, 294, 455, 524, 538, 661, 678, 686, 706
Zeitfluss
6, 15, 30, 170, 227, 231, 240, 273, 275, 280, 582, 590, 674, 677, 703
Zeitkreis
17–19, 299, 313, 323, 327, 540
Zeitperspektive
14, 16–17, 136, 145, 179, 216–217, 221, 240, 260, 267–270, 299, 301, 523, 657, 661, 663, 704–705
Zeitpfeil
17–20, 23
Zeitschichten
18–19, 144, 550
Zeitschrift
60, 73, 75, 105, 107, 111–112, 213, 343, 403, 409, 411–412, 416, 442, 460, 488, 537, 606, 608, 653
Zeitsituationen im Bild
13, 30–31, 35–36
Zeitung
158, 210–212, 218–219, 224, 227–228, 230, 232–235, 237–240, 266, 270, 285, 437, 551, 658, 672–673, 684, 695
Zentralperspektive
xvi, 182, 269, 508
Zeuge
119, 185, 187, 203, 299, 308, 449, 510, 536, 551, 602–603, 611–612, 642, 698, 702
Zimmermann, Tanja
373–374
zirkuläre Zeit
19–21, 29–30, 169–170, 217, 221, 228, 231, 247, 258, 260, 323, 341, 609, 678, 688
Zufall
131, 133, 193, 225, 234, 244, 252, 257, 276, 290, 305, 388, 429, 528, 533, 543, 551, 555–557, 559, 575, 577, 637, 647, 696
Zugangsbedingungen
10, 13, 44, 87, 105, 228, 275, 433, 448–449, 455, 500, 507, 510, 588, 603, 677, 681
Zukunft
6, 16–17, 19–21, 29, 45, 136, 139, 141, 144–145, 168, 180, 185–186, 217, 220–222, 227, 248, 271, 274, 301, 306, 366, 456, 523, 525, 571, 661, 665, 675, 704–708
Zukunft-Transzendental
17, 301, 306
zwangsneurotische Konfliktverarbeitung
xxv–xxvi, 128, 137–143, 147–148, 151, 168, 170, 196, 223, 261, 266, 273, 296, 300, 303, 349–350, 354, 357–360, 363–365, 541, 649–651, 653, 659, 707
Zwangsvorstellung
70
Zweite, Armin
319, 324, 327–328