New Essays on Umberto Eco
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There is a wealth of critical commentary on Umberto Eco in scholarly books and articles; this collection provides thought-provoking insights into topics that have attracted a great deal of attention in the past without repeating many of the arguments found in earlier publications on Eco. Representing the most active scholars writing on Eco from a variety of disciplinary perspectives, the international panel of authors provides sophisticated engagement with Eco's contributions to a wide range of academic disciplines (semiotics, popular culture, linguistics, aesthetics, philosophy, medieval studies) as well as his literary production of five important novels. From the impact of the detective genre on Eco's literary work to his place as a major medievalist, New Essays on Umberto Eco covers a variety of subjects of interest not only to a wide audience interested in Eco's fiction, but also to the serious student delving into Eco's more esoteric writings.
remark: “I cannot let myself go, I want to know who I am. One thing is certain. The Â�memories that surfaced at the beginning of what I believe to be my coma are obscure, foggy, and arranged in patchwork fashion, with breaks, uncertainties, tears, missing pieces (why can I not remember Lila’s face?)” (p. 419). Yambo is struggling to fuse together in continuity the pieces of memories that constitute his lacerated encyclopedia, so much so that in the end his own love becomes cosmic love and his
Chronica of â•−Otto of Freising. Therein Otto reports the existence of a prosperous Eastern realm ruled by Presbyter Iohannes, a Nestorian Christian priest king descended from the Magi who seeks to assist the Church and Jerusalem in overcoming Islam.17 Around 1165, this Prester John is credited with sending to Western rulers a letter detailing the wealth, power, and marvels of his highly idealized kingdom and asserting his Christian virtue.18 By all accounts Prester John’s Letter was a medieval
intertextual relationships that it establishes with other texts – in other words, within the complex encyclopedia that delimits the horizon of a culture. A similar perspective on textuality is explicit in â•−Lévi-Strauss, who underlines the constitutive character of intertextual links in his analyses of myths: the analysis of a single myth, of a single text, isolated from the network-system of all the other myths and texts, is impractical, since a single element remains opaque if analyzed only on
i illustrations, some twenty of them are explicitly linked to Fascism and the Second World War. The samples range from a children’s book about young Fascists to illustrations of the balilla (the Fascist regime’s substitute for the less bellicose Boy Scouts), the brigate nere or “black brigades” celebrated by Fascist folklore, Mussolini, war news, references to colonialism, the war in Abyssinia, war songs, soldiers, concentration camps, headline news of the downfall of â•−Mussolini, and newspaper
the image. Although both the novel and the cinema are “arts of action” (arti dell’azione) in the Aristotelian sense of the term – meaning that they develop through a structured series of events – the novel tends to narrate action through an actual or perceived past tense (A happened then B happened), whereas the cinema consists of multiple “representations of a present” related to each other through editing (p. 204; original italics). If the cinema will tend to deprive the audience of