In Eco’s work between around 1960 and 1992, “openness” in a modern literary text can mean (a) “permitting more than one interpretation,” and (b) “requiring a good deal of decoding work from the reader,” which is close to my own position. These two aspects of openness are demonstrated using Baudelaire’s Les Chats, in regard to which Eco denies that the text may be cristallin in Lévi-Strauss’s sense, while still requiring constructive effort from the reader. It is apparent that this term is equivalent to Riffaterreʼs textual “monumentality.” Eco does not go into detail about the reader’s work in assembling the text’s global propositional structure. It is left to Riffaterre and myself to detail the various stages of this work, involving comparison of images in order to discover their common underlying generative proposition. In contrast to Riffaterre, I have long suggested that the modern poetic text is built on two such propositions. It is at the stage of relations between text and sociolect that Eco contributes much to modern poetics. Openness (b) seems to be a prerequisite for perceptual change in the reader, produced by contrast between textual structure and its sociolectic context. Riffaterre prefers to remain within the text/intertext/interpretant triad, preventing him from describing the text-sociolect relation, where the propositional innovation of the modernist text takes effect.

中文翻译：

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艾柯、里法特尔和波德莱尔的一首诗

在艾柯 1960 年至 1992 年左右的作品中，现代文学文本中的“开放性”可能意味着（a）“允许不止一种解释”，以及（b）“需要读者进行大量的解码工作”，这很接近到我自己的位置。开放性的这两个方面通过波德莱尔的聊天室，对此艾柯否认该文本可能是克里斯塔林在列维-斯特劳斯的意义上，同时仍然需要读者的建设性努力。显然，这个术语相当于 Riffaterre 的文本“纪念性”。艾柯没有详细介绍读者在组装文本的全局命题结构方面所做的工作。由 Riffaterre 和我自己来详细说明这项工作的各个阶段，包括图像比较，以发现它们共同的潜在生成命题。与里法特尔相反，我长期以来一直认为现代诗歌文本是建立在两个这样的命题之上的。正是在文本与社会语言关系的阶段，艾柯对现代诗学做出了巨大贡献。开放性（b）似乎是读者感知变化的先决条件，它是通过文本结构与其社会背景之间的对比而产生的。里法特尔更喜欢留在文本/互文/解释三元组中，这阻止了他描述现代主义文本的命题创新发挥作用的文本与社会语言的关系。