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Umberto Eco

English • French • Italian • Philosopher • Novelist
16 books in Langa
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PhilosophyLiterature

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16 books available from this author.

A Theory of Semiotics

A Theory of Semiotics

Indiana University Press · 1976 · English · EPUB

<div> <p>" . . . the greatest contribution to [semiotics] since the pioneering work of C. S. Peirce and Charles Morris. </p> <p>" —Journal of Aesthetics and Art Criticism" . . . draws on philosophy, linguistics, sociology, anthropology and aesthetics and refers to a wide range of scholarship . . . raises many fascinating questions. </p> <p>" —Language in Society" . . . a major contribution to the field of semiotic studies. </p> <p>" —Robert Scholes, Journal of Aesthetics and Art Criticism" . . . the most significant text on the subject published in the English language that I know of. </p> <p>" —Arthur Asa Berger, Journal of CommunicationEco's treatment demonstrates his mastery of the field of semiotics. It focuses on the twin problems of the doctrine of signs—communication and signification—and offers a highly original theory of sign production, including a carefully wrought typology of signs and modes of production.</p></div> <p>" . . . the greatest contribution to [semiotics] since the pioneering work of C. S. Peirce and Charles Morris." ―Journal of Aesthetics and Art Criticism </p> <p>" . . . draws on philosophy, linguistics, sociology, anthropology and aesthetics and refers to a wide range of scholarship . . . raises many fascinating questions." ―Language in Society </p> <p>" . . . a major contribution to the field of semiotic studies." ―Robert Scholes, Journal of Aesthetics and Art Criticism </p> <p>" . . . the most significant text on the subject published in the English language that I know of." ―Arthur Asa Berger, Journal of Communication </p> <p>Eco's treatment demonstrates his mastery of the field of semiotics. It focuses on the twin problems of the doctrine of signs―communication and signification―and offers a highly original theory of sign production, including a carefully wrought typology of signs and modes of production.</p>
Literary CriticismSemiotics & TheorySemioticsLanguage Arts & Disciplines+5
A Theory of Semiotics

A Theory of Semiotics

Indiana University Press · 1976 · English · PDF

<div> <p>" . . . the greatest contribution to [semiotics] since the pioneering work of C. S. Peirce and Charles Morris. </p> <p>" —Journal of Aesthetics and Art Criticism" . . . draws on philosophy, linguistics, sociology, anthropology and aesthetics and refers to a wide range of scholarship . . . raises many fascinating questions. </p> <p>" —Language in Society" . . . a major contribution to the field of semiotic studies. </p> <p>" —Robert Scholes, Journal of Aesthetics and Art Criticism" . . . the most significant text on the subject published in the English language that I know of. </p> <p>" —Arthur Asa Berger, Journal of CommunicationEco's treatment demonstrates his mastery of the field of semiotics. It focuses on the twin problems of the doctrine of signs—communication and signification—and offers a highly original theory of sign production, including a carefully wrought typology of signs and modes of production.</p></div> <p>" . . . the greatest contribution to [semiotics] since the pioneering work of C. S. Peirce and Charles Morris." ―Journal of Aesthetics and Art Criticism </p> <p>" . . . draws on philosophy, linguistics, sociology, anthropology and aesthetics and refers to a wide range of scholarship . . . raises many fascinating questions." ―Language in Society </p> <p>" . . . a major contribution to the field of semiotic studies." ―Robert Scholes, Journal of Aesthetics and Art Criticism </p> <p>" . . . the most significant text on the subject published in the English language that I know of." ―Arthur Asa Berger, Journal of Communication </p> <p>Eco's treatment demonstrates his mastery of the field of semiotics. It focuses on the twin problems of the doctrine of signs―communication and signification―and offers a highly original theory of sign production, including a carefully wrought typology of signs and modes of production.</p>
Literary CriticismSemiotics & TheorySemioticsLanguage Arts & Disciplines+5
Five Moral Pieces

Five Moral Pieces

HarperVia · 2002 · English · EPUB

<div> <p>Embracing the web of multiculturalism that has become a fact of contemporary life from New York to New Delhi, Eco argues that we are more connected to people of other traditions and customs than ever before, making tolerance the ultimate value in today's world. What good does war do in a world where the flow of goods, services, and information is unstoppable and the enemy is always behind the lines? <br>In the most personal of the essays, Eco recalls experiencing liberation from fascism in Italy as a boy, and examines the various historical forms of fascism, always with an eye toward such ugly manifestations today. And finally, in an intensely personal open letter to an Italian cardinal, Eco reflects on a question underlying all the reflections in the book--what does it mean to be moral or ethical when one doesn't believe in God? </p> <h3>Review</h3> <p>PRAISE FOR UMBERTO ECO </p> <p>"Instead of that tone of constipated envy we associate with criticism, <br>Eco's essays read like letters from a friend, trying to share something he loves <br>with someone he likes."-- <em>San Francisco Review of Books</em> </p> <p>"One of the most influential thinkers of our time."-- <em>Los Angeles Times</em> </p> <p>— </p> <h3>About the Author</h3> <p><strong>Umberto Eco</strong> (1932–2016) was the author of numerous essay collections and seven novels, including <em>The Name of the Rose, The Prague Cemetery,</em> and <em>Inventing the Enemy.</em> He received Italy’s highest literary award, the Premio Strega; was named a Chevalier de la Légion d’Honneur by the French government; and was an honorary member of the American Academy of Arts and Letters.</p></div> <p>Embracing the web of multiculturalism that has become a fact of contemporary life from New York to New Delhi, Eco argues that we are more connected to people of other traditions and customs than ever before, making tolerance the ultimate value in today's world. What good, he asks in a talk delivered during the Gulf War, does war do in a world where the flow of goods, services, and information is unstoppable and the enemy is always behind the lines? What makes news today, who decides how it will be presented, and how does the way it is disseminated contribute to the widespread disillusionment with politics in general? </p> <p>In the most personal of the essays, Eco recalls experiencing liberation from fascism in Italy as a boy, and examines the various historical forms of fascism, always with an eye toward such ugly manifestations today. And finally, in an intensely personal open letter to an Italian cardinal, Eco reflects on a question underlying all the reflections in the book: What does it mean to be moral or ethical when one doesn't believe in God? </p> <p>Thoughtful and subtle as well as pragmatic and relevant, these essays present one of the world's most important thinkers at the height of his critical powers. </p> <p>**</p><h3>Amazon.com Review</h3> <p>This slim book covers a lot of territory in a little over a hundred pages. Its five essays address everything from warfare to faith to the media, and Umberto Eco insists that they are all linked: "Despite the variety of their themes, they are all ethical in nature, that is to say, they treat of what we ought to do, what we ought not to do, and what we must not do at any cost." Several of his views are provocative. In listing the characteristics of what he calls "Ur-Fascism," for instance, Eco describes many of the beliefs held by modern-day conservatives. He also remarks: "Europe will become a multiracial continent--or a 'colored' one, if you prefer. That's how it will be, whether you like it or not. This meeting (or clash) of cultures could lead to bloodshed, and I believe to a certain extent it will." Fans of Eco's bestselling novels won't necessarily be drawn to <em>Five Moral Pieces</em> , though readers who have enjoyed his nonfiction will want to explore this small collection. <em>--John Miller</em></p> <h3>From Publishers Weekly</h3> <p>Most famous for his complex, erudite novels, semiotician and literary theorist Eco (Foucault's Pendulum, etc.) devotes these occasional essays primarily to the quest for tolerance in an intolerant world and to the intellectual responsibility of individuals to confront difficult moral problems directly. Eco observes, for example, that war contradicts "the very reasons for which it is waged" in a world where telecommunications technology and constant migration render traditional rationalizations for war (e.g., the defense of borders) obsolete. In the end, he argues, war cannot be defended, for, in addition to its manifold evils, it is a wasteful enterprise, squandering lives and resources. In another essay, Eco contends that ethical principles can indeed be articulated apart from any grounding in religious faith, though a natural ethic and a religious ethic may share common ground. Examining the reporting techniques of several Italian newspapers, he asserts that they share a moral responsibility to inform rather than to titillate with gossip and advertising. In the collection's most eloquent essay, Eco sketches the universal elements of fascism (such as "the cult of tradition" and a "suspicion of intellectual life"), emphasizing that such elements persist even today and can appear in the most innocent guises. Finally, he reveals the complex bond linking migration, with the resulting impact of one culture on another, and intolerance, concluding that the only solution is to teach tolerance from birth. Eco's fans will enjoy his perspective on these issues, but aside from his worthy reflections on fascism, these pieces neither ask new questions nor reach startling conclusions; some are even quite simplistic (e.g., "War is a waste"). </p> <p>Copyright 2001 Cahners Business Information, Inc.</p> <p>Embracing the web of multiculturalism that has become a fact of contemporary life from New York to New Delhi, Eco argues that we are more connected to people of other traditions and customs than ever before, making tolerance the ultimate value in today's world. What good does war do in a world where the flow of goods, services, and information is unstoppable and the enemy is always behind the lines?<p>In the most personal of the essays, Eco recalls experiencing liberation from fascism in Italy as a boy, and examines the various historical forms of fascism, always with an eye toward such ugly manifestations today. And finally, in an intensely personal open letter to an Italian cardinal, Eco reflects on a question underlying all the reflections in the book&#8212;what does it mean to be moral or ethical when one doesn't believe in God?
Literary CollectionsEssaysPhilosophyEthics & Moral Philosophy
How to Spot a Fascist

How to Spot a Fascist

Random House · 2020 · English · EPUB

We are here to remember what happened and to declare solemnly that 'they' must never do it again. But who are 'they'?HOW TO SPOT A FASCIST is a selection of three thought-provoking essays on freedom and fascism, censorship and tolerance - including Eco's iconic essay 'Ur-Fascism', which lists the fourteen essential characteristics of fascism, and draws on his own personal experiences growing up in the shadow of Mussolini. Umberto Eco remains one of the greatest writers and cultural commentators of the last century. In these pertinent pieces, he warns against prejudice and abuses of power and proves a wise and insightful guide for our times. If we strive to learn from our collective history and come together in challenging times, we can hope for a peaceful and tolerant future. Freedom and liberation are never-ending tasks. Let this be our motto: 'Do not forget.''He brilliantly exposes all that is absurd and paradoxical in contemporary behaviour. Eco's irony is disarming, his cleverness dazzling' Guardian
Political SciencePolitical IdeologiesFascism & TotalitarianismEssays+8
How to Travel With a Salmon and Other Essays

How to Travel With a Salmon and Other Essays

Vintage · 1998 · English · EPUB

'Between a bottle of Epsom salts or one of twenty-year-old cognac, which would you choose? Would you rather spend your vacation with an eighty-year old leper or with Demi Moore? Do you prefer being sprinkled with ferocious red ants or sharing a sleeping compartment with Claudia Schiffer?' From the celebrated author of The Name of the Rose, here is a dazzling compendium of advice offering the correct answers to these and many other important questions. Tackling topics as diverse as the coffee pot from hell, eating on an aeroplane, how not to use a cellular phone and recognising porn movies, Umberto Eco guides us with all his customary wit and brilliance through the complexities of the modern world.
Literary CollectionsEssays
How to Travel With a Salmon: And Other Essays

How to Travel With a Salmon: And Other Essays

HMH · 1995 · English · EPUB

“Impishly witty and ingeniously irreverent” essays on topics from cell phones to librarians, by the author of The Name of the Rose and Foucault’s Pendulum (The Atlantic Monthly). A cosmopolitan curmudgeon the Los Angeles Times called “the Andy Rooney of academia”—known for both nonfiction and novels that have become blockbuster New York Times bestsellers—Umberto Eco takes readers on “a delightful romp through the absurdities of modern life” (Publishers Weekly) as he journeys around the world and into his own wildly adventurous mind. From the mundane details of getting around on Amtrak or in the back of a cab, to reflections on computer jargon and soccer fans, to more important issues like the effects of mass media and consumer civilization—not to mention the challenges of trying to refrigerate an expensive piece of fish at an English hotel—this renowned writer, semiotician, and philosopher provides “an uncanny combination of the profound and the profane” (San Francisco Chronicle). “Eco entertains with his clever reflections and with his unique persona.” —Kirkus Reviews Translated from the Italian by William Weaver
HumorFormParodiesEssays+2
How to Write a Thesis

How to Write a Thesis

MIT Press · 2015 · English · EPUB

**The wise and witty guide to researching and writing a thesis, by the bestselling author of** The Name of the Rose **—now published in English for the first time.** Learn the art of the thesis from a giant of Italian literature and philosophy—from choosing a topic to organizing a work schedule to writing the final draft. By the time Umberto Eco published his best-selling novel *The Name of the Rose* , he was one of Italy’s most celebrated intellectuals, a distinguished academic, and the author of influential works on semiotics. Some years before that, Eco published a little book for his students, in which he offered useful advice on all the steps involved in researching and writing a thesis. Since then, it has been translated into 17 languages—and is now for the first time presented in English. Eco’s approach is anything but dry and academic. He not only offers practical advice but also considers larger questions about the value of the thesis-writing exercise in six different parts: • The Definition and Purpose of a Thesis • Choosing the Topic • Conducting the Research • The Work Plan and the Index Cards • Writing the Thesis • The Final Draft Eco advises students how to avoid “thesis neurosis” and he answers the important question “Must You Read Books?” He reminds students “You are not Proust” and “Write everything that comes into your head, but only in the first draft.” Of course, there was no Internet in 1977, but Eco’s index card research system offers important lessons about critical thinking and information curating for students of today who may be burdened by Big Data. Irreverent and often hilarious, *How to Write a Thesis* is unlike any other writing manual and belongs on the bookshelves of students, teachers, writers, and Eco fans everywhere. ### Review " *How to Write a Thesis* remains valuable after all this time largely thanks to the spirit of Eco's advice. It is witty but sober, genial but demanding--and remarkably uncynical about the rewards of the thesis, both for the person writing it and for the enterprise of scholarship itself...Some of Eco's advice is, if anything, even more valuable now, given the ubiquity and seeming omniscience of our digital tools.... Eco's humor never detracts from his serious intent. And anyway, even the sardonic pointers on cheating are instructive in their way." \-- "Inside Higher Education" "Although first published in Italian in 1977, before Eco ( *The Name of the Rose* ) became an internationally renowned novelist, this guide to writing a thesis--originally aimed at Italian humanities undergraduates--brims with practical advice useful for writing research papers...His advocacy of index card files to organize data seems quaintly nostalgic in the age of laptops and online databases, but it only underscores the importance of applying these more sophisticated tools to achieve the thoroughness of the results that he advocates." \-- "Publishers Weekly" "The book's enduring appeal--the reason it might interest someone whose life no longer demands the writing of anything longer than an e-mail--has little to do with the rigors of undergraduate honors requirements. Instead, it's about what, in Eco's rhapsodic and often funny book, the thesis represents: a magical process of self-realization, a kind of careful, curious engagement with the world that need not end in one's early twenties. 'Your thesis, ' Eco foretells, 'is like your first love: it will be difficult to forget.' By mastering the demands and protocols of the fusty old thesis, Eco passionately demonstrates, we become equipped for a world outside ourselves--a world of ideas, philosophies, and debates." \-- "New Yorker" --This text refers to an alternate kindle_edition edition. ### About the Author **Umberto Eco** (19322016) was an Italian novelist, literary critic, philosopher, semiotician, and university professor. He is best known internationally for his novel *The Name of the Rose* , a historical mystery combining semiotics in fiction with biblical analysis, medieval studies, and literary theory. He later wrote other novels, including *Foucaults Pendulum* , *The Island of the Day Before* , and *The Prague Cemetery*. He also wrote academic texts, childrens books, and essays. He was the founder of the department of media studies at the University of the Republic of San Marino, president of the graduate school for the study of the humanities at the University of Bologna, member of the Accademia dei Lincei, and an honorary fellow of Kellogg College, Oxford. He was A co-honoree of the Kenyon Review Award for Literary Achievement in 2005. \--This text refers to an alternate kindle_edition edition. ### Review " *How to Write a Thesis* remains valuable after all this time largely thanks to the spirit of Eco's advice. It is witty but sober, genial but demanding--and remarkably uncynical about the rewards of the thesis, both for the person writing it and for the enterprise of scholarship itself...Some of Eco's advice is, if anything, even more valuable now, given the ubiquity and seeming omniscience of our digital tools.... Eco's humor never detracts from his serious intent. And anyway, even the sardonic pointers on cheating are instructive in their way." \-- "Inside Higher Education" "Although first published in Italian in 1977, before Eco ( *The Name of the Rose* ) became an internationally renowned novelist, this guide to writing a thesis--originally aimed at Italian humanities undergraduates--brims with practical advice useful for writing research papers...His advocacy of index card files to organize data seems quaintly nostalgic in the age of laptops and online databases, but it only underscores the importance of applying these more sophisticated tools to achieve the thoroughness of the results that he advocates." \-- "Publishers Weekly" "The book's enduring appeal--the reason it might interest someone whose life no longer demands the writing of anything longer than an e-mail--has little to do with the rigors of undergraduate honors requirements. Instead, it's about what, in Eco's rhapsodic and often funny book, the thesis represents: a magical process of self-realization, a kind of careful, curious engagement with the world that need not end in one's early twenties. 'Your thesis, ' Eco foretells, 'is like your first love: it will be difficult to forget.' By mastering the demands and protocols of the fusty old thesis, Eco passionately demonstrates, we become equipped for a world outside ourselves--a world of ideas, philosophies, and debates." \-- "New Yorker" --This text refers to the audioCD edition.
Language Arts & DisciplinesStyle ManualsSelf-HelpMotivational & Inspirational+1
Inventing the Enemy: Essays

Inventing the Enemy: Essays

HarperVia · 2012 · English · EPUB

**The final collection from the bestselling author of** The Name of the Rose **and one of the most** **influential, and entertaining, intellectuals of the last century—essays full of passion, curiosity, and obsession.** “Underscores the writer’s profound erudition, lively wit, and passion for ideas of all shapes and sizes . . . Eco’s pleasure in such explorations is obvious and contagious.” — *Booklist* The essays in *Inventing the Enemy* cover a wide range of topics on which Eco wrote and lectured, including a disquisition on the theme that runs through his novel *The Prague Cemetery* —every country needs an enemy, and if it doesn’t have one, must invent it; a discussion of ideas that inspired his earlier novels (and in the process he takes us on an exploration of lost islands, mythical realms, and the medieval world); an examination of Saint Thomas Aquinas’s notions about the soul of an unborn child; and censorship, violence, and WikiLeaks. “True wit and wisdom coexist with fierce scholarship inside Umberto Eco, a writer who actually knows a thing or two about being truly human.” — *Buffalo News* "Thought provoking . . . nuanced . . . the collection amply shows off Eco's sophisticated, agile mind." — *Publishers Weekly* ### Review "This selection **underscores the writer’s profound erudition, lively wit, and passion for ideas of all shapes and sizes**...these occasional writings touch upon potentially provocative topics of contemporary interest...Eco’s pleasure in such explorations is obvious and contagious." \-- *Booklist* " **Thought provoking...nuanced...the collection amply shows off Eco's sophisticated, agile mind**." \-- *Publishers Weekly* " *Inventing the Enemy* **is definitely sublime** "-- *San Francisco Chronicle Book Review* — ### From the Back Cover “Underscores the writer’s profound erudition, lively wit, and passion for ideas of all shapes and sizes . . . Eco’s pleasure in such explorations is obvious and contagious.” — *Booklist* * Inventing the Enemy* covers a wide range of topics on which Eco has written and lectured over the past ten years: from a disquisition on the theme that runs through his recent novel *The Prague Cemetery* — every country needs an enemy, and if it doesn’t have one, must invent it — to a discussion of ideas that have inspired his earlier novels, taking us on an exploration of lost islands, mythical realms, and the medieval world; from indignant reviews of James Joyce’s *Ulysses* by fascist journalists of the 1920s and 1930s, to an examination of Saint Thomas Aquinas’s notions about the soul of an unborn child, to censorship and violence and WikiLeaks. These are essays full of passion, curiosity, and obsession by one of the world’s most esteemed scholars and critically acclaimed, best-selling novelists. “True wit and wisdom coexist with fierce scholarship inside Umberto Eco, a writer who actually knows a thing or two about being truly human.” — *Buffalo News* "Thought provoking . . . nuanced . . . the collection amply shows off Eco's sophisticated, agile mind." — *Publishers Weekly* [AU PHOTO] UMBERTO ECO is the author of numerous works of fiction and nonfiction, including the best-selling novels *The Prague Cemetery* , *The Name of the Ros* e, and *Foucault’s Pendulum* and many collections of essays. A semiotician, philosopher, medievalist, and for many years a professor at the University of Bologna, Eco is now president of the Scuola Superiore di Studi Umanistici there. He lives in Milan. ### About the Author **Umberto Eco** (1932–2016) was the author of numerous essay collections and seven novels, including *The Name of the Rose, The Prague Cemetery,* and *Inventing the Enemy.* He received Italy’s highest literary award, the Premio Strega; was named a Chevalier de la Légion d’Honneur by the French government; and was an honorary member of the American Academy of Arts and Letters. ### Excerpt. © Reprinted by permission. All rights reserved. Introduction The title of this collection should really have been the subtitle, *Occasional Writings*. It was only my publisher’s proper concern—that such a pompously modest title might not attract the reader’s attention, whereas the title of the first essay may arouse curiosity—that determined the final choice. What are occasional writings and what are their virtues? They are generally on topics about which the author had no specific interest. He was, instead, encouraged to write each one after being invited to contribute to a series of discussions or essays on a particular theme. It captured the author’s interest and encouraged him to reflect on something he might otherwise have ignored—and often a subject imposed from outside turns out to be more fruitful than one arising from some inner whim. Another virtue of occasional writing is that it does not demand originality at all costs, but aims to entertain the speaker as well as the listener. In short, occasional writing is an exercise in baroque rhetoric, as when Roxane sets challenges for Christian (and through him, for Cyrano), such as “speak to me of love.” At the end of each essay (all written over the past decade) I note the date and occasion. To emphasize their occasional nature I should mention that “Absolute and Relative” and “The Beauty of the Flame” were presented during the Milanesiana festival of literature, an event centered on a specific theme. It provided an interesting opportunity to talk about the Absolute at a time when the controversy over relativism was blowing up, though the second essay was quite a challenge, as I had never before felt, shall we say, fired by such a topic. “No Embryos in Paradise” is based on a lecture I gave in 2008 in Bologna at a conference on the ethics of research, which was then included in a book titled *Etica della ricerca medica e identità culturale europea,* edited by Francesco Galofaro (Bologna: CLUEB, 2009). Thoughts on the poetics of excess in Victor Hugo bring together three different essays and lectures. I brazenly presented my entertainment called “Imaginary Astronomies” in two different versions at two different conferences, one on astronomy and the other on geography. “Treasure Hunting” gathers various contributions on cathedral treasuries; “Fermented Delights” was presented during a conference on Piero Camporesi. “Censorship and Silence” was delivered almost off the cuff at the conference of the Italian Semiotics Association in 2009. Three essays appeared in three different issues of the *Almanacco del bibliofilo,* in three different years, and are pieces of real entertainment, inspired by three set themes: “In search of new utopian islands” was the theme for “Living by Proverbs,” “Sentimental digressions on readings from earlier times” for “I Am Edmond Dantès!,” and “Late reviews” for “ *Ulysses:* That’s All We Needed . . .” The penultimate essay, “Why the Island Is Never Found,” appeared in the 2011 issue of the Almanacco del bibliofilo and is the text of a lecture given on islands at a conference in Sardinia in 2010. “Thoughts on WikiLeaks” is the reworking of two articles, one that appeared in *Libération* (December 2, 2010) and the other in *L’Espresso* (December 31, 2010). Finally, returning to the first essay, “Inventing the Enemy” was delivered as one of a series of lectures on the classics organized at the University of Bologna by Ivano Dionigi. These few pages seem rather scant, now that Gian Antonio Stella has so splendidly developed the whole question over more than three hundred pages in his book *Negri, froci, giudei & co.: L’eterna guerra contro l’altro* (Milan: Rizzoli, 2009), but never mind—it would have been a shame to let it sink into oblivion, seeing that making enemies is a continual and relentless occupation. 1 Inventing the Enemy SOME YEARS AGO in New York I found myself in conversation with a taxi driver whose name I had difficulty in placing. He was, he explained, Pakistani and asked where I came from. Italy, I replied. He asked how many of us there were and was surprised we were so few and that our language wasn’t English. Then he asked me who our enemies were. In response to my “Sorry?” he explained patiently that he wanted to know who were the people against whom we have fought through the centuries over land claims, ethnic rivalry, border incursions, and so forth. I told him we are not at war with anyone. He explained that he wanted to know who were our historical enemies, those who kill us and whom we kill. I repeated that we don’t have any, that we fought our last war more than half a century ago—starting, moreover, with one enemy and ending with another. He wasn’t satisfied. How can a country have no enemies? Getting out of the taxi, I left a two-dollar tip to compensate him for our indolent Italian pacifism. And only then did it occur to me how I should have answered. It is not true that we Italians have no enemies. We have no outside enemies, or rather we are unable to agree on who they are because we are continually at war with each other—Pisa against Lucca, Guelphs against Ghibellines, north against south, Fascists against Partisans, mafia against state, Berlusconi’s government against the judiciary. It was a pity that during that time the two governments headed by Romano Prodi had not yet fallen; otherwise I could have explained to the taxi driver what it means to lose a war through friendly fire. Thinking further about the conversation, I have come to the conclusion that one of Italy’s misfortunes over the past sixty years has been the absence of real enemies. The unification of Italy took place thanks to the presence of Austria, or, in the words of Giovanni Berchet, of the *irto, increscioso alemanno* —the bristling, irksome Teuton. And Mussolini was able to enjoy popular support by calling on Italy to avenge herself for a victory in tatters, for humiliating defeats in Abyssinia at Dogali and Adua, and for the Jewish plutodemocracy, which, he claimed, was penalizing us iniquitously. See what happened in the United States when the Evil Empire vanished and the great Soviet enemy faded away. The United States was in danger of losing its identity until bin Laden, in gratitude for the benefits received when he was fighting against the Soviet Union, proffered his merciful hand and gave Bush the opportunity to create new enemies, strengthening feelings of national identity as well as his own power. Having an enemy is important not only to define our identity but also to provide us with an obstacle against which to measure our system of values and, in seeking to overcome it, to demonstrate our own worth. So when there is no enemy, we have to invent one. Look at the generous flexibility with which the skinheads of Verona would, just to identify themselves as a group, choose anyone not belonging to their group as their enemy. And so we are concerned here not so much with the almost natural phenomenon of identifying an enemy who is threatening us, but with the process of creating and demonizing the enemy. In the Orations *Against Catiline,* Cicero had no need to convince the Roman senators that they had an enemy since he had proof of Lucius Catiline’s plot. But nonetheless he builds up a picture of the enemy in the second oration, where he describes Catiline’s friends, reflecting on the main accusation: that they were tainted with moral perversity...
Literary CollectionsEssaysEuropeanItalian+1
Island of the Day Before

Island of the Day Before

Random House · 2014 · English · EPUB

The year is 1643. Roberto, a young nobleman, survives war, the Bastille, exile and shipwreck as he voyages to a Pacific island straddling the date meridian. There he waits now, alone on the mysteriously deserted Daphne, separated by treacherous reefs from the island beyond: the island of the day before. If he could reach it, time - and his misfortunes - might be reversed. But first he must learn to swim...
FictionHistoricalLiteraryFantasy+4
Numero Zero

Numero Zero

Random House · 2015 · English · EPUB

#1 Italian bestseller “Witty and wry . . . It’s hard not to be charmed.” — *New York Times Book Review* “One of the most influential thinkers of our time.” — *Los Angeles Times* **1945, Lake Como.** Mussolini and his mistress are captured and shot by local partisans. The precise circumstances of Il Duce’s death remain controversial. **1992, Milan.** Colonna, a depressed hack writer, is offered a fee he can’t resist to ghostwrite a book. His subject: a fledgling newspaper, which happens to be financed by a powerful media magnate. As Colonna gets to know the team, he learns of the editor’s paranoid theory that Mussolini’s corpse was a body double and part of a wider Fascist plot. It’s the scoop the newspaper desperately needs. The evidence? He’s working on it. It’s all there: media hoaxes, Mafiosi, the CIA, the Pentagon, blackmail, love, gossip, and murder. A clash of forces that have shaped Italy since World War II — from Mussolini to Berlusconi. “Farcical, serious, satiric, and tragic” ( *Le Point,* France), *Numero Zero* is the work of a master storyteller. UMBERTO ECO (1932–2016) was the author of numerous essay collections and seven novels, including *The Name of the Rose,* *The Prague Cemetery,* and *Inventing the Enemy.* He received Italy’s highest literary award, the Premio Strega, was named a Chevalier de la Légion d’Honneur by the French government, and was an honorary member of the American Academy of Arts and Letters ** ### Review A December 2015 Indie Next Pick “Witty and wry . . . slim in pages but plump in satire about modern Italy . . . it’s hard not to be charmed by the zest of the author.”—Tom Rachman, *New York Times Book Review* “Frequently imitated for his amalgamation of intellect, conspiracism, and historical suspense, the author of *The Name of the Rose* takes a more contemporary and satirical turn. In 1992, as Italy works to cleanse itself of corruption, a hack journalist is hired to ghostwrite a memoir about a never-to-be-published gossip rag in order to cover up the real rationale for its fakery. Eco’s warped parable is rooted in a very specific time and place, but readers of Elena Ferrante or Rachel Kushner will likely catch the barbs in his clever absurdities.”— *Vulture,* “7 Books You Need to Read This November” “Numero Zero [is] . . . a smart puzzle and a delight.”— *Kirkus Reviews* , starred review “Eco combines his delight in suspense with astute political satire in this brainy, funny, neatly lacerating thriller . . . A satisfyingly scathing indictment brightened by resolute love.”— *Booklist* ### Book Description HMH hardcover, 2015, Previous ISBN 978-0-544-63508-1
FictionMystery & DetectiveHistorical
On Literature

On Literature

HarperVia · 2005 · English · EPUB

In this collection of essays and addresses delivered over the course of his illustrious career, Umberto Eco seeks "to understand the chemistry of [his] passion" for the word. From musings on Ptolemy and "the force of the false" to reflections on the experimental writing of Borges and Joyce, Eco's luminous intelligence and encyclopedic knowledge are on dazzling display throughout. And when he reveals his own ambitions and superstitions, his authorial anxieties and fears, one feels like a secret sharer in the garden of literature to which he so often alludes. Remarkably accessible and unfailingly stimulating, this collection exhibits the diversity of interests and the depth of knowledge that have made Eco one of the world's leading writers. ### Review PRAISE FOR UMBERTO ECO "One of the most influential thinkers of our time." -Los Angeles Times "Eco combines scholarship with a love of paradox and a quirky, sometimes outrageous, sense of humor."-The Atlantic Monthly — ### From the Back Cover In this collection of essays and addresses delivered over the course of his illustrious career, Umberto Eco seeks "to understand the chemistry of [his] passion" for the word. Eco's luminous intelligence and encyclopedic knowledge dazzle throughout. And when he reveals his own ambitions and superstitions, his authorial anxieties and fears, one feels like a secret sharer in the garden of literature to which he so often alludes. Illuminating, accessible, stimulating, this collection exhibits Eco's diversity of interests and depth of knowledge in pieces such as these and many more: A Reading of the *Paradiso* On the Style of *The Communist Manifesto* Wilde: Paradox and Aphorism A Portrait of the Artist as Bachelor Borges and My Anxiety of Influence On Symbolism On Style The American Myth in Three Anti-American Generations **Umberto Eco** is a professor of semiotics at the University of Bologna. His collections of essays include *Kant and the Platypus* , *Serendipities* , *Travels in Hyperreality* , and *How to Travel with a Salmon*. He is also the author of the bestselling novels *The Name of the Rose* , *Foucault's Pendulum* , and *Baudolino*. His most recent novel is *The Mysterious Flame of Queen Loana*. He lives in Milan. Translated from the Italian by Martin McLaughlin ### About the Author **Umberto Eco** (1932–2016) was the author of numerous essay collections and seven novels, including *The Name of the Rose, The Prague Cemetery,* and *Inventing the Enemy.* He received Italy’s highest literary award, the Premio Strega; was named a Chevalier de la Légion d’Honneur by the French government; and was an honorary member of the American Academy of Arts and Letters. ### Excerpt. © Reprinted by permission. All rights reserved. ON SOME FUNCTIONS OF LITERATURE Legend has it, and if it is not true it is still a good story, that Stalin once asked how many divisions the Pope had. Subsequent events have proved to us that while divisions are indeed important in certain circumstances, they are not everything. There are nonmaterial forces, which cannot be measured precisely, but which nonetheless carry weight. We are surrounded by intangible powers, and not just those spiritual values explored by the world's great religions. The power of square roots is also an intangible power: their rigid laws have survived for centuries, outliving not just Stalin's decrees but even the Pope's. And among these powers I would include that of the literary tradition; that is to say, the power of that network of texts which humanity has produced and still produces not for practical ends (such as records, commentaries on laws and scientific formulae, minutes of meetings or train schedules) but, rather, for its own sake, for humanity's own enjoyment-and which are read for pleasure, spiritual edification, broadening of knowledge, or maybe just to pass the time, without anyone forcing us to read them (apart from when we are obliged to do so at school or in the university). True, literary objects are only partly intangible, since they usually come to us on paper. But at one stage they came to us through the voice of someone who was calling on an oral tradition, or written on stone, while today we are talking about the future of e-books, which apparently will allow us to read a collection of jokes or Dante's Divine Comedy on a liquid-crystal screen. Let me say at once that I do not intend to dwell this evening on the vexed question of the electronic book. I belong, of course, to those who prefer to read a novel or poem in the paper medium of books, whose dog-eared and crumpled pages I will even remember, though I am told that there is now a generation of digital hackers who, not having ever read a book in their lives, have now enjoyed Don Quixote for the first time thanks to the e-book. A clear gain for their minds but at a terrible cost for their eyesight. If future generations come to have a good (psychological and physical) relationship with the e-book, the power of Don Quixote will remain intact. What use is this intangible power we call literature? The obvious reply is the one I have already made, namely, that it is consumed for its own sake and therefore does not have to serve any purpose. But such a disembodied view of the pleasure of literature risks reducing it to the status of jogging or doing crossword puzzles-both of which primarily serve some purpose, the former the health of the body, the latter the expansion of one's vocabulary. What I intend to discuss is therefore a series of roles that literature plays in both our individual and our social lives. Above all, literature keeps language alive as our collective heritage. By definition language goes its own way; no decree from on high, emanating either from politicians or from the academy, can stop its progress and divert it toward situations that they claim are for the best. The Fascists tried to make Italians say mescita instead of bar, coda di gallo instead of cocktail, rete instead of goal, auto pubblica instead of taxi, and our language paid no attention. Then it suggested a lexical monstrosity, an unacceptable archaism like autista instead of chauffeur, and the language accepted it. Maybe because it avoided a sound unknown to Italian. It kept taxi, but gradually, at least in the spoken language, turned this into tassì. Language goes where it wants to but is sensitive to the suggestions of literature. Without Dante there would have been no unified Italian language. When, in his De Vulgari Eloquentia (On Vernacular Eloquence), Dante analyzes and condemns the various Italian dialects and decides to forge a new "illustrious vernacular," nobody would have put money on such an act of arrogance, and yet with The Divine Comedy he won his bet. It is true that Dante's vernacular took several centuries to become the language spoken by all of us, but if it has succeeded it is because the community of those who believed in literature continued to be inspired by Dante's model. And if that model had not existed, then the idea of political unity might not have made any headway. Perhaps that is why Bossi does not speak an "illustrious vernacular." Twenty years of Fascist talk of "Rome's fated hills" and "ineluctable destinies," of "unavoidable events" and "plows tracing furrows in the ground," have in the end left no trace in contemporary Italian, whereas traces have been left by certain virtuoso experiments of futurist prose, which were unacceptable at the time. And while I often hear people complain about the victory of a middle Italian that has been popularized by television, let us not forget that the appeal to a middle Italian, in its noblest form, came through the plain and perfectly acceptable prose of Manzoni, and later of Svevo or Moravia. By helping to create language, literature creates a sense of identity and community. I spoke initially of Dante, but we might also think of what Greek civilization would have been like without Homer, German identity without Luther's translation of the Bible, the Russian language without Pushkin, or Indian civilization without its foundation epics. And literature keeps the individual's language alive as well. These days many lament the birth of a new "telegraphese," which is being foisted on us through e-mail and mobile-phone text messages, where one can even say "I love you" with short-message symbols; but let us not forget that the youngsters who send messages in this new form of shorthand are, at least in part, the same young people who crowd those new cathedrals of the book, the multistory bookstores, and who, even when they flick through a book without buying it, come into contact with cultivated and elaborate literary styles to which their parents, and certainly their grandparents, had never been exposed. Although there are more of them compared with the readers of previous generations, these young people clearly are a minority of the six billion inhabitants of this planet; nor am I idealistic enough to believe that literature can offer relief to the vast number of people who lack basic food and medicine. But I would like to make one point: the wretches who roam around aimlessly in gangs and kill people by throwing stones from a highway bridge or setting fire to a child-whoever these people are-turn out this way not because they have been corrupted by computer "new-speak" (they don't even have access to a computer) but rather because they are excluded from the universe of literature and from those places where, through education and discussion, they might be reached by a glimmer from the world of values that stems from and sends us back again to books. Reading works of literature forces on us an exercise of fidelity and respect, albeit within a certain freedom of interpretation. There is a dangerous critical heresy, typical of our time, according to which we can do anything we like with a work of literature, reading into it whatever our most uncontrolled impulses dictate to us. This is not true. Literary works encourage freedom of interpretation, because they offer us a discourse that has many layers of reading and place before us the ambiguities of language and of real life. But in order to play this game, which allows every generation to read literary works in a different way, we must be moved by a profound respect for what I have called elsewhere the intention of the text. On one hand the world seems to be a "closed" book, allowing of only one reading. If, for example, there is a law governing planetary gravitation, then it is either the right one or the wrong one. Compared with that, the universe of a book seems to us to be an open universe. But let us try to approach a narrative work with common sense and compare the assumptions we can make about it with those we can make about the world. As far as the world is concerned, we find that the laws of universal gravitation are those established by Newton, or that it is true that Napoléon died on Saint Helena on 5 May 1821. And yet, if we keep an open mind, we will always be prepared to revise our convictions the day science formulates the great laws of the cosmos differently, or a historian discovers unpublished documents proving that Napoléon died on a Bonapartist ship as he attempted to escape. On the other hand, as far as the world of books is concerned, propositions like "Sherlock Holmes was a bachelor," "Little Red Riding-Hood is eaten by the wolf and then freed by the woodcutter," or "Anna Karenina commits suicide" will remain true for eternity, and no one will ever be able to refute them. There are people who deny that Jesus was the son of God, others who doubt his historical existence, others who claim he is the Way, the Truth, and the Life, and still others who believe that the Messiah is yet to come, and however we might think about such questions, we treat these opinions with respect. But there is little respect for those who claim that Hamlet married Ophelia, or that Superman is not Clark Kent. Copyright © 2002 RCS Libri S.p.A English translation copyright © 2004 by Martin McLaughlin All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Requests for permission to make copies of any part of the work should be mailed to the following address: Permissions Department, Harcourt, Inc., 6277 Sea Harbor Drive, Orlando, Florida 32887-6777.
Literary CriticismModern20th CenturyLiterary Collections+2
On the Shoulders of Giants

On the Shoulders of Giants

Random House · 2019 · English · EPUB

A posthumous collection of essays by one of our greatest contemporary thinkers that provides a towering vision of Western culture. In Umberto Eco’s first novel, *The Name of the Rose,* Nicholas of Morimondo laments, “We no longer have the learning of the ancients, the age of giants is past!” To which the protagonist, William of Baskerville, replies: “We are dwarfs, but dwarfs who stand on the shoulders of those giants, and small though we are, we sometimes manage to see farther on the horizon than they.” *On the Shoulders of Giants* is a collection of essays based on lectures Eco famously delivered at the Milanesiana Festival in Milan over the last fifteen years of his life. Previously unpublished, the essays explore themes he returned to again and again in his writing: the roots of Western culture and the origin of language, the nature of beauty and ugliness, the potency of conspiracies, the lure of mysteries, and the imperfections of art. Eco examines the dynamics of creativity and considers how every act of innovation occurs in conversation with a superior ancestor. In these playful, witty, and breathtakingly erudite essays, we encounter an intellectual who reads comic strips, reflects on Heraclitus, Dante, and Rimbaud, listens to Carla Bruni, and watches *Casablanca* while thinking about Proust. *On the Shoulders of Giants* reveals both the humor and the colossal knowledge of a contemporary giant. ### Review “Magisterial lectures…Throughout his mature work Eco is on a quest for *real* meaning, which makes him so relevant for our times…The man proves a rare human spectacle: at once immensely erudite and genuinely humble; aware of his intellectual stature and yet self-deprecating; creator of sophisticated literary and intellectual worlds, and yet a strikingly unpretentious mind.”― **Costica Bradatan** **,** Los Angeles Review of Books “Eco rearranges and reconstellates his vast learning to address one huge topic after the next…The irreverence and relentless curiosity that drive these lectures [is] charming and bracing.”― **Marta Figlerowicz** **,** Public Books “What makes Eco’s talks fun is his humor, penetrating insights, and truly eclectic examples of topic points. He manages to make you feel that you’re going on an esoteric adventure into secret spaces.”― **John Kendall Hawkins** **,** CounterPunch “Like a collection of TED talks on philosophy and literary history, these 12 dazzling texts explore grand themes of intellectual curiosity such as beauty, secrecy, the invisible, and the sacred.”―Kirkus Reviews (starred review) “Delightful…Eco’s remarks on such broad topics as ‘Beauty’ and ‘Ugliness,’ ‘Some Revelations on Secrecy,’ and ‘Representations of the Sacred’ reveal his astonishingly wide range of interests, encompassing such varied subjects as linguistics and chemistry.”―Publishers Weekly ### About the Author Umberto Eco (1932–2016) was an internationally acclaimed writer, philosopher, medievalist, and professor, and the author of the best-selling novels *Foucault’s Pendulum* , *The Name of the Rose* , and *The Prague Cemetery* , as well as children’s books. His numerous nonfiction books include *Confessions of a Young Novelist* , *Six Walks in the Fictional Woods* , and *The Open Work* (all from Harvard). He was a recipient of the Premio Strega, Italy’s highest literary prize; the Prince of Asturias Award for Communication and Humanities; and a Chevalier de la Légion d’Honneur from the government of France. Alastair McEwen is an award-winning literary translator. After nearly forty years in Italy he now lives in his native Scotland.
ReligionPhilosophyReligious
The Limits of Interpretation

The Limits of Interpretation

Indiana University Press · 1991 · English · EPUB

"Eco's essays read like letters from a friend, trying to share something he loves with someone he likes. . . . Read this brilliant, enjoyable, and possibly revolutionary book." ―George J. Leonard, San Francisco Review of Books " . . . a wealth of insight and instruction." ―J. O. Tate, National Review "If anyone can make [semiotics] clear, it's Professor Eco. . . . Professor Eco's theme deserves respect; language should be used to communicate more easily without literary border guards." ―The New York Times "The limits of interpretation mark the limits of our world. Umberto Eco's new collection of essays touches deftly on such matters." ―Times Literary Supplement "It is a careful and challenging collection of essays that broach topics rarely considered with any seriousness by literary theorists." ―Diacritics Umberto Eco focuses here on what he once called "the cancer of uncontrolled interpretation"―that is, the belief that many interpreters have gone too far in their domination of texts, thereby destroying meaning and the basis for communication.
Literary CriticismGeneralSemiotics & TheoryPhilosophy+1
The Mysterious Flame of Queen Loana

The Mysterious Flame of Queen Loana

Harcourt · 2006 · English · EPUB

International bestselling and award-winning author Umberto Eco's illustrated novel The Mysterious Flame of Queen Loana is "an insidiously witty and provocative story" (Los Angeles Times). Yambo, a sixtyish rare-book dealer who lives in Milan, has suffered a loss of memory — he can remember the plot of every book he has ever read, every line of poetry, but he no longer knows his own name, doesn't recognize his wife or his daughters, and remembers nothing about his parents or his childhood. In an effort to retrieve his past, he withdraws to the family home somewhere in the hills between Milan and Turin. There, in the sprawling attic, he searches through boxes of old newspapers, comics, records, photo albums, and adolescent diaries. And so Yambo relives the story of his generation: Mussolini, Catholic education and guilt, Josephine Baker, Flash Gordon, Fred Astaire. His memories run wild, and the life racing before his eyes takes the form of a graphic novel. Yambo struggles through the frames to capture one simple, innocent image: that of his first love. A fascinating, abundant novel — wide-ranging, nostalgic, funny, full of heart — from the incomparable Eco. ### Review PRAISE FOR BAUDOLINO "A richly variegated haul of medieval treasures . . . Compulsively readable."-THE NEW YORK TIMES BOOK REVIEW PRAISE FOR THE NAME OF THE ROSE "The kind of novel that changes our mind, replaces our reality with its own."-LOS ANGELES TIMES "Like the labyrinthine library at its heart, this brilliant novel has many cunning passages and secret chambers . . . Fascinating . . . Ingenious . . . Dazzling."-NEWSWEEK — ### From the Back Cover Yambo, a sixty-ish rare book dealer in Milan, has suffered a loss of memory-- he can remember the plot of every book he has ever read, every line of poetry, but he no longer knows his own name, doesn't recognize his wife or his daughters, and remembers nothing about his parents or his childhood. In an effort to retrieve his past, he withdraws to the family home somewhere in the hills between Milan and Turin. There, in the sprawling attic, he searches through boxes of old newspapers, comics, records, photo albums, and adolescent diaries. And so Yambo relives the story of his generation: Mussolini, Catholic education and guilt, Josephine Baker, Flash Gordon, Fred Astaire. His memories run wild, and the life racing before his eyes takes the form of a graphic novel. Yambo struggles through the frames to capture one simple, innocent image: that of his first love. A fascinating, abundant new novel--wide-ranging, nostalgic, funny, full of heart--from the incomparable Eco. ### About the Author **Umberto Eco** (1932–2016) was the author of numerous essay collections and seven novels, including *The Name of the Rose, The Prague Cemetery,* and *Inventing the Enemy.* He received Italy’s highest literary award, the Premio Strega; was named a Chevalier de la Légion d’Honneur by the French government; and was an honorary member of the American Academy of Arts and Letters. ### Excerpt. © Reprinted by permission. All rights reserved. 1\. The Cruelest Month "And what's your name?" "Wait, it's on the tip of my tongue." That is how it all began. I felt as if I had awoke from a long sleep, and yet I was still suspended in a milky gray. Or else I was not awake, but dreaming. It was a strange dream, void of images, crowded with sounds. As if I could not see, but could hear voices that were telling me what I should have been seeing. And they were telling me that I could not see anything yet, only a haziness along the canals where the landscape dissolved. Bruges, I said to myself, I was in Bruges. Had I ever been to Bruges the Dead? Where fog hovers between the towers like incense dreaming? A gray city, sad as a tombstone with chrysanthemums, where mist hangs over the façades like tapestries... My soul was wiping the streetcar windows so it could drown in the moving fog of the headlamps. Fog, my uncontaminated sister...A thick, opaque fog, which enveloped the noises and called up shapeless phantoms...Finally I came to a vast chasm and could see a colossal figure, wrapped in a shroud, its face the immaculate whiteness of snow. My name is Arthur Gordon Pym. I was chewing fog. Phantoms were passing, brushing me, melting. Distant bulbs glimmered like will-o'-the-wisps in a graveyard... Someone is walking by my side, noiselessly, as if in bare feet, walking without heels, without shoes, without sandals. A patch of fog grazes my cheek, a band of drunks is shouting down there, down by the ferry. The ferry? It is not me talking, it is the voices. The fog comes on little cat feet...There was a fog that seemed to have taken the world away. Yet every so often it was as if I had opened my eyes and were seeing flashes. I could hear voices: "Strictly speaking, Signora, it isn't a coma....No, don't think about flat encephalograms, for heaven's sake....There's reactivity...." Someone was aiming a light into my eyes, but after the light it was dark again. I could feel the puncture of a needle, somewhere. "You see, there's withdrawal..." Maigret plunges into a fog so dense that he can't even see where he's stepping....The fog teems with human shapes, swarms with an intense, mysterious life. Maigret? Elementary, my dear Watson, there are ten little Indians, and the hound of the Baskervilles vanishes into the fog. The gray vapor was gradually losing its grayness of tint, the heat of the water was extreme, and its milky hue was more evident than ever...And now we rushed into the embraces of the cataract, where a chasm threw itself open to receive us. I heard people talking around me, wanted to shout to let them know I was there. There was a continuous drone, as though I were being devoured by celibate machines with whetted teeth. I was in the penal colony. I felt a weight on my head, as if they had slipped the iron mask onto my face. I thought I saw sky blue lights. "There's asymmetry of the pupillary diameters." I had fragments of thoughts, clearly I was waking up, but I could not move. If only I could stay awake. Was I sleeping again? Hours, days, centuries? The fog was back, the voices in the fog, the voices about the fog. Seltsam, im Nebel zu wandern! What language is that? I seemed to be swimming in the sea, I felt I was near the beach but was unable to reach it. No one saw me, and the tide was carrying me away again. Please tell me something, please touch me. I felt a hand on my forehead. Such relief. Another voice: "Signora, there are cases of patients who suddenly wake up and walk away under their own power." Someone was disturbing me with an intermittent light, with the hum of a tuning fork. It was as if they had put a jar of mustard under my nose, then a clove of garlic. The earth has the odor of mushrooms. Other voices, but these from within: long laments of the steam engine, priests shapeless in the fog walking single file toward San Michele in Bosco. The sky is made of ash. Fog up the river, fog down the river, fog biting the hands of the little match girl. Chance people on the bridges to the Isle of Dogs look into a nether sky of fog, with fog all round them, as if they were up in a balloon and hanging under the brown fog...I had not thought death had undone so many. The odor of train station and soot. Another light, softer. I seem to hear, through the fog, the sound of bagpipes starting up again on the heath. Another long sleep, perhaps. Then a clearing, like being in a glass of water and anisette... He was right in front of me, though I still saw him as a shadow. My head felt muddled, as if I were waking up after having drunk too much. I think I managed to murmur something weakly, as if I were in that moment beginning to talk for the first time: "Posco reposco flagito-do they take the future infinitive? Cujus regio ejus religio...is that the Peace of Augsburg or the Defenestration of Prague?" And then: "Fog too on the Apennine stretch of the Autosole Highway, between Roncobilaccio and Barberino del Mugello..." He smiled sympathetically. "But now open your eyes all the way and try to look around. Do you know where we are?" Now I could see him better. He was wearing a white-what is it called?-coat. I looked around and was even able to move my head: the room was sober and clean, a few small pieces of pale metal furniture, and I was in bed, with a tube stuck in my arm. From the window, through the lowered blinds, came a blade of sunlight, spring on all sides shines in the air, and in the fields rejoices. I whispered: "We are...in a hospital and you...you're a doctor. Was I sick?" "Yes, you were sick. I'll explain later. But you've regained consciousness now. That's good. I'm Dr. Gratarolo. Forgive me if I ask you some questions. How many fingers am I holding up?" "That's a hand and those are fingers. Four of them. Are there four?" "That's right. And what's six times six?" "Thirty-six, of course." Thoughts were rumbling through my head, but they came as if of their own accord. "The sum of the areas of the squares...built on the two legs...is equal to the area of the square built on the hypotenuse." "Well done. I think that's the Pythagorean theorem, but I got a C in math in high school..." "Pythagoras of Samos. Euclid's elements. The desperate loneliness of parallel lines that never meet." "Your memory seems to be in excellent condition. And by the way, what's your name?" That is where I hesitated. And yet I did have it on the tip of my tongue. After a moment I offered the most obvious reply. "My name is Arthur Gordon Pym." "That isn't your name." Of course, Pym was someone else. He did not come back again. I tried to come to terms with the doctor. "Call me...Ishmael?" "Your name is not Ishmael. Try harder." A word. Like running into a wall. Saying Euclid or Ishmael was easy, like saying Jack and Jill went up a hill. Saying who I was, on the other hand, was like turning around and finding that wall. No, not a wall; I tried to explain. "It doesn't feel like something solid, it's like walking through fog." "What's the fog like?" he asked. "The fog on the bristling hills climbs drizzling up the sky, and down below the mistral howls and whitens the sea...What's the fog like?" "You put me at a disadvantage-I'm only a doctor. And besides, this is April, I can't show you any fog. Today's the twenty-fifth of April." April is the cruelest month." "I'm not very well read, but I think that's a quotation. You could say that today's the Day of Liberation. Do you know what year this is?" "It's definitely after the discovery of America..." "You don't remember a date, any kind of date, before...your reawakening?" "Any date? Nineteen hundred and forty-five, end of World War Two." "Not close enough. No, today is the twenty-fifth of April, 1991. You were born, I believe, at the end of 1931, all of which means you're pushing sixty." "Fifty-nine and a half. Not even." "Your calculative faculties are in excellent shape. But you have had, how shall I say, an incident. You've come through it alive, and I congratulate you on that. But clearly something is still wrong. A slight case of retrograde amnesia. Not to worry, they sometimes don't last long. But please be so kind as to answer a few more questions. Are you married?" "You tell me." "Yes, you're married, to an extremely likable lady named Paola, who has been by your side night and day. Just yesterday evening I insisted she go home, otherwise she would have collapsed. Now that you're awake, I'll call her. But I'll have to prepare her, and before that we need to do a few more tests." "What if I mistake her for a hat?" "Excuse me?" "There was a man who mistook his wife for a hat." "Oh, the Sacks book. A classic case. I see you're up on your reading. But you don't have his problem, otherwise you'd have already mistaken me for a stove. Don't worry, you may not recognize her, but you won't mistake her for a hat. But back to you. Now then, your name is Giambattista Bodoni. Does that tell you anything?" Now my memory was soaring like a glider among mountains and valleys, toward a limitless horizon. "Giambattista Bodoni was a famous typographer. But I'm sure that's not me. I could as easily be Napoleon as Bodoni." "Why did you say Napoleon?" "Because Bodoni was from the Napoleonic era, more or less. Napoleon Bonaparte, born in Corsica, first consul, marries Josephine, becomes emperor, conquers half of Europe, loses at Waterloo, dies on St. Helena, May 5, 1821, he was as if unmoving." "I'll have to bring my encyclopedia next time, but from what I remember, your memory is good. Except you don't remember who you are." "Is that serious?" "To be honest, it's not so good. But you aren't the first person something like this has happened to, and we'll get through it." © 2004 RCS Libri S.p.A. English translation copyright © 2005 by Geoffrey Brock All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Requests for permission to make copies of any part of the work should be mailed to the following address: Permissions Department, Harcourt, Inc., 6277 Sea Harbor Drive, Orlando, Florida 32887-6777.
FictionPsychologicalLiterary
The Name of The Rose

The Name of The Rose

Bentang Pustaka · 2014 · ind · EPUB

The Name of the Rose, novel yang terjual lebih dari lima puluh juta eksemplar di seluruh dunia ini bercerita tentang misteri pembunuhan di sebuah biara. Biara Benediktin yang biasanya tenang dan damai oleh doa para rahib dan novis itu dikejutkan oleh serangkaian kematian misterius. William, sebagai inkuisitor Fransiskan, bertugas menyelesaikan kasus ini sebelum utusan Paus tiba di biara itu. Petunjuk yang William peroleh mengarah kepada penghuni biara. Tetapi siapa? Bagaimana mungkin para rahib yang hari-harinya diisi dengan berdoa dan melakukan kebaikan bisa melakukan tindakan sekeji itu? Apa pula tujuan pembunuh para rahib itu?Novel Umberto Eco yang kental bernuansa misteri ini tidak hanya menyuguhkan cerita pembunuhan biasa. Dengan sangat cerdas, Eco menghadirkan kehidupan biara yang puritan lengkap dengan tradisi pemikiran gereja Abad Pertengahan [Bentang, Novel, Indonesia]
FictionJuvenile Fiction
Travels in Hyperreality

Travels in Hyperreality

HMH · 2014 · English · EPUB

A “scintillating collection” of essays on Disneyland, medieval times, and much more, from the author of Foucault’s Pendulum (Los Angeles Times). Collected here are some of Umberto Eco’s finest popular essays, recording the incisive and surprisingly entertaining observations of his restless intellectual mind. As the author puts it in the preface to the second edition: “In these pages, I try to interpret and to help others interpret some ‘signs.’ These signs are not only words, or images; they can also be forms of social behavior, political acts, artificial landscapes.” From Disneyland to holography and wax museums, Eco explores America’s obsession with artificial reality, suggesting that the craft of forgery has in certain cases exceeded reality itself. He examines Western culture’s enduring fascination with the middle ages, proposing that our most pressing modern concerns began in that time. He delves into an array of topics, from sports to media to what he calls the crisis of reason. Throughout these travels—both physical and mental—Eco displays the same wit, learning, and lively intelligence that delighted readers of The Name of the Rose and Foucault’s Pendulum. Translated by William Weaver
Literary CriticismSemiotics & TheoryLiterary CollectionsEssays