New Releases by Umberto Eco

“Erudite, wide-ranging, and slyly humorous.” —The Atlantic One of the great novelists and public intellectuals of our time gives a master class on the philosophy of fiction. Umberto Eco was fond of pointing out that all writing is narrative. He published his famed debut novel The Name of the Rose when he was forty-eight years old, yet he believed that everything he had written to that point—from treatises on semiotics to essays on mass culture—took the form of a story. To Eco, scholarship, much like fiction, was shaped by narrative. It was the stuff of life itself. Six Walks in the Fictional Woods, a collection of essays based on Eco’s 1992–1993 Norton Lectures at Harvard, illuminates fiction’s porous boundaries—in particular, the myriad ways that literary works conscript readers’ experiences and expectations. Fiction, says Eco, can offer metaphysical comfort by appealing to our desire for a smaller, more legible world, one that gives a definitive answer to the question of “whodunnit?” But it also makes demands of us, presupposing a model reader who possesses the cultural knowledge necessary to interpret the text, as well as a willingness to follow the never-quite-specified rules of the literary game. Whether he is dissecting grammatical ambiguities in Gérard de Nerval’s nineteenth-century romantic masterpiece Sylvie, studying the rhythms of Ian Fleming’s James Bond novels, or tracing the web of fraud and misattribution that produced the antisemitic conspiracy theory of The Protocols of the Elders of Zion, this is Eco at his very best: intellectually omnivorous, endlessly fascinated by hoaxes, and always an adept navigator of the narrative forests that surround us.

Una colección de ensayos magistrales sobre la cultura de masas. En estos ensayos magistrales, en los que analiza la estructura del mal gusto, la lectura de cómics, el mito de Superman, la canción de consumo, el papel de los medios audiovisuales como instrumento de información o el influjo de la televisión en el mundo actual, Umberto Eco se plantea el problema central de la doble postura ante la cultura de masas: la de los apocalípticos, que ven en ella el signo de una caída irrecuperable, y la de los integrados, que creen de forma optimista que estamos viviendo una magnífica generalización del marco cultural. Publicados originalmente en 1964, estos textos «lúcidos, persuasivos e ingeniosos de un autor realmente particular, sustancial, brillante y muy divertido» (Kirkus Reviews) componen un libro icónico y visionario que marcó nuestra época y que a día de hoy continúa siendo una obra de referencia.

Dialogando com Tratato geral da semiótica, esta nova edição de Kant e o ornitorrinco reúne ensaios escritos por Umberto Eco que tratam de temas ligados à linguagem e à cognição. Como reconhecemos um gato? Como o diferenciamos de um cachorro? Por que não confundimos um elefante com um tatu ou não chamamos uma mulher de chapéu? Esse problema formidável vem obcecando os pensadores desde Platão até os filósofos contemporâneos, e nem mesmo Kant soube solucioná-lo de forma satisfatória. Em Kant e o ornitorrinco, Umberto Eco se debruça sobre essas questões e passeia pelo campo vago e fascinante das ciências cognitivas. "Se muitas são as coisas que digo nestas páginas, muitíssimas são aquelas que não digo, simplesmente porque não tenho ideias precisas a respeito delas." Escritos no decorrer de um ano, os ensaios deste livro se originaram de preocupações sistemáticas, que remetem, complementam e dialogam com o Tratado geral de semiótica, clássico de Eco publicado em 1975. Em vez de uma análise acadêmica, Eco apresenta uma série de investigações a partir do senso comum, e suas discussões teóricas estão cheias de "histórias", recorrendo a fábulas para fazer com que o leitor veja os temas de forma clara. Mas e quanto a Kant e o ornitorrinco? De Kant — de quem dependem os rumos das ciências cognitivas deste século, a partir de seus dilemas e axiomas —, Eco retira os conceitos empíricos que admitem um primeiro núcleo a partir do qual se organizarão sucessivas definições. Já o ornitorrinco, mamífero que por mais de um século não conseguiu ser incluído em qualquer categoria de ordem e espécie, serve como exemplo primário para as dificuldades de classificação. Serve, portanto, para testar o sistema kantiano, ou a ordem do conhecimento segundo Kant; e ainda para que imaginemos a reação do filósofo diante desse animal que nunca chegou a conhecer. "Neste livro explico por que o ornitorrinco não é horrível, mas prodigioso e providencial por pôr à prova uma teoria do conhecimento. A propósito, pela sua aparição muito remota no desenvolvimento das espécies, insinuo que não seja feito com pedaços de outros animais, mas que os outros animais é que são feitos dos seus pedaços. [...] A tarefa de um discurso filosófico é rever de onde Kant partiu, e contra quais nós problemáticos se debateu, porque a sua alternância pode nos ensinar algo também. Sem saber, poderemos ser ainda filhos dos seus erros (assim como das suas verdades), e conhecer o assunto poderia evitar que cometêssemos erros análogos ou acreditar que descobrimos ontem aquilo que ele já havia sugerido há duzentos anos. Para falar rapidamente, Kant não sabia nada sobre o ornitorrinco, e paciência, mas o ornitorrinco, para resolver a própria crise de identidade, deveria saber algo sobre Kant."

Foucaults pendul er en usædvanlig underholdende roman, med en spændende handling og et mylder af mærkværdige – men altid troværdige – personer. Som et motto foran i bogen står: „Overtro bringer uheld“ og det er netop dette tema Eco i mange variationer gennemspiller i bogen. En af romanens hovedpersoner er Milanostudenten Casaubon, der skriver speciale om middelalderens Tempelriddere. Han kommer i kontakt med de to forlagsredaktører Belbo og Diotallevi. De er blevet opsøgt af den mystiske, fascistisk-nostalgiske oberst Ardenti, der er opslugt af en fantastisk plan, som Tempelridderne skulle have udtænkt inden ordenens ophævelse og udslettelse i 1310. Planen er i hans fatasifulde udlægning stadig lige aktuel, men Casaubon erklærer Ardenti for fantast og svindler. Kort efter forsvinder obersten under mystiske omstændigheder.

No detailed description available for "Looking for a Logic of Culture".

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.

The acclaimed author examines our contemporary world—from technology to politics and pop culture—in this collection of essays written for L'Espresso. Umberto Eco was an international cultural superstar. In this, his last collection, the celebrated essayist and novelist observes the changing world around him with irrepressible curiosity and philosophical insight. He illuminates the contemporary upheaval in ideological values, the crises in politics, and the unbridled individualism that have become the backdrop of our lives—creating a "liquid" society that defies any organizing principle. In these pieces, written for his regular column in the Italian magazine L'Espresso, Eco brings his dazzling erudition and keen sense of the everyday to bear on topics such as being seen, conspiracies, the old and the young, mass media, racism, and good manners. It is "a swan song from one of Europe's great intellectuals...[Eco] entertains with his intellect, humor, and insatiable curiosity" ( Kirkus Reviews). "An intelligent, intriguing, and often hilariously incisive set of observations on contemporary follies and changing mores." — Publishers Weekly

La novela emblemática de Umberto Eco. Una apasionante trama y admirable reconstrucción de una época especialmente conflictiva, la del siglo XVI.Valiéndose de las características propias de la novela gótica, la crónica medieval y la novela policíaca, El nombre de la rosa narra las actividades detectivescas de Guillermo de Baskerville para esclarecer los crímenes cometidos en una abadía benedictina en el año 1327. Le ayudará en su labor el novicio Adso, un hombre joven que se enfrenta por primera vez a las realidades de la vida, más allá de las puertas del convento.En esta primera y brillante incursión en el mundo de la narrativa, que Umberto Eco llevó a cabo hace ahora treinta años, el lector disfrutará de una trama apasionante y de una admirable reconstrucción de una época especialmente conflictiva de la historia de Occidente. Reseña: «Aquí hay misterios turbadores, personajes vívidos, un retrato logrado de una época fascinante, humor sutil, sucesos inesperados y una prosa ágil que puede adaptarse a los registros de la fe, la duda, el horror, el éxtasis amoroso y la desolación.» David Lodge ENGLISH DESCRIPTION Umberto Eco's first novel, an international sensation and winner of the Premio Strega and the Prix Médicis Étranger awards.The year is 1327. Franciscans in a wealthy Italian abbey are suspected of heresy, and Brother William of Baskerville arrives to investigate. When his delicate mission is suddenly overshadowed by seven bizarre deaths, Brother William turns detective. His tools are the logic of Aristotle, the theology of Aquinas, the empirical insights of Roger Bacon - all sharpened to a glistening edge by wry humor and a ferocious curiosity. He collects evidence, deciphers secret symbols and coded manuscripts, and digs into the eerie labyrinth of the abbey, where "the most interesting things happen at night". "A brilliantly conceived adventure into another time, an intelligent and complex novel, a lively and well-plotted mystery." --SAN FRANCISCO CHRONICLE“br /> "The novel explodes with pyrotechnic inventions, literally as well as figuratively . . . The narrative impulse that commands the story is irresistible . . . Mr. Eco's delight in his narrative does not fail to touch the reader." --NEW YORK TIMES BOOK REVIEW "Like the labyrinthine library at its heart, this brilliant novel has many cunning passages and secret chambers . . . Fascinating . . . Ingenious . . . Dazzling." --NEWSWEEK "Whether you're into Sherlock Holmes, Montaillou, Borges, the nouvelle critique, the Rule of St. Benedict, metaphysics, library design, or The Thing from the Crypt, you'll love it. Who can that miss out?" --SUNDAY TIMES (LONDON)

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.

Suite à une conversation dans un taxi new-yorkais avec un chauffeur pakistanais qui ne comprend pas qu’un pays puisse exister sans ennemis, Umberto Eco s’interroge. Après avoir constaté les ravages d’idéologies totalitaires telles que le nazisme ou le fascisme, la société actuelle ressent-elle la nécessité de se définir par rapport à un ennemi et de le diaboliser ? Les Etats renonceraient-ils, aujourd’hui, à l’opportunité de créer de nouveaux boucs émissaires pour renforcer le sentiment d’identité nationale et leur pouvoir ? Puis, à l’occasion de conférences ou d’essais à thèmes qui amusent autant celui qui parle que celui qui écoute, et qui sont, en somme, des exercices de rhétorique baroque, l’auteur aborde avec jubilation des sujets variés : l’idée de l’absolu, la tragédie d’Anna Karenine, la poétique de l’excès chez Victor Hugo, les divertissements inspirés par les almanachs, « Parlez-moi d’amour », etc. Le grand érudit qu’est Umberto Eco traite dans ces « écrits occasionnels » de questions qui l’intriguent et le passionnent, sans jamais oublier d’amuser son lecteur.

The way we create and organize knowledge is the theme of From the Tree to the Labyrinth, a major achievement by one of the world’s foremost thinkers on language and interpretation. Umberto Eco begins by arguing that our familiar system of classification by genus and species derives from the Neo-Platonist idea of a “tree of knowledge.” He then moves to the idea of the dictionary, which—like a tree whose trunk anchors a great hierarchy of branching categories—orders knowledge into a matrix of definitions. In Eco’s view, though, the dictionary is too rigid: it turns knowledge into a closed system. A more flexible organizational scheme is the encyclopedia, which—instead of resembling a tree with finite branches—offers a labyrinth of never-ending pathways. Presenting knowledge as a network of interlinked relationships, the encyclopedia sacrifices humankind’s dream of possessing absolute knowledge, but in compensation we gain the freedom to pursue an infinity of new connections and meanings. Moving effortlessly from analyses of Aristotle and James Joyce to the philosophical difficulties of telling dogs from cats, Eco demonstrates time and again his inimitable ability to bridge ancient, medieval, and modern modes of thought. From the Tree to the Labyrinth is a brilliant illustration of Eco’s longstanding argument that problems of interpretation can be solved only in historical context.

From the world-famous author of THE NAME OF THE ROSE, an illuminating and humorous study on the pleasures and pitfalls of translation. 'Translation is always a shift, not between two languages but between two cultures. A translator must take into account rules that are not strictly linguistic but, broadly speaking, cultural.' Umberto Eco is of the world's most brilliant and entertaining writers on literature and language. In this accessible and dazzling study, he turns his eye on the subject of translations and the problems the differences between cultures can cause. The book is full of little gems about mistranslations and misunderstandings.For example when you put 'Studies in the logic of Charles Sanders Peirce' through an internet translation machine, it becomes 'Studies in the logic of the Charles of sandpaper grinding machines Peirce'. In Italian 'ratto' has no connotation of 'contemptible person' but denotes speed ('you dirty rat' could take on a whole new meaning!) What could be a weighty subject is never dull, fired by Eco's immense wit and erudition, providing an entertaining read that illuminates the process of negotiation that all translators must make.

Una compilación de las teorías estéticas elaboradas por la cultura del Medioevo, desde el siglo VI hasta el XV de nuestra era «Umberto Eco cambió nuestra mirada sobre los libros: imprescindibles, pequeños, frágiles, a veces criminales, casi siempre salvadores. Un maestro que nos enseñó a entrelazar la sabiduría y el juego con su estilo sagaz y lúdico, con su asombrosa inventiva y certera lucidez.» Irene Vallejo El concepto de «estética» nace en Europa en el siglo XVII y, por lo tanto, muchas historias de la estética tomaron en escasa consideración las teorías de la belleza y del arte elaboradas antes de estas fechas. Ahora bien, desde hace muchos años la actitud de los historiadores ha cambiado y la Edad Media se ha valorizado como una época rica en especulaciones fascinantes sobre la belleza, el placer estético, el gusto, la belleza natural y la artificial, las relaciones entre el arte y las demás actividades humanas. En este compendio de las teorías estéticas elaboradas por la cultura del Medioevo, desde el siglo VI hasta el XV de nuestra era, Eco reconoce, de forma accesible para el lector no especializado, las etapas de un debate que presenta aspectos dramáticos y apasionantes, y nos permite entender mejor la mentalidad y el gusto artístico del hombre medieval. Reseña: «Un estudio delicioso... Tremendamente lúcido y fácil de leer, el ensayo de Eco está cargado de excelencia y de la energía de un hombre enamorado de la materia.» Boston Globe

One is the beloved author of The Name of the Rose, a celebrated scholar, philosopher, and self-declared secularist; the other is a preeminent clergyman and a respected expert on the New Testament. In this intellectually stimulating dialogue, often adversarial but always amicable, these two great men, who stand on opposite sides of the church door, discuss some of the most controversial issues of our day, including the apocalypse, abortion, women in the clergy, and ethics. As we voyage onward into the new millennium, they frame a debate about matters that have already begun to rage, always aware of the gulf between belief and nonbelief that separates them, constantly probing and challenging, but also respectful of the other’s viewpoint. For believers and nonbelievers alike, the result is both edifying and illuminating. “Their correspondence,” writes Professor Harvey Cox in his introduction, “lifts the possibility of intelligent conversation on religion to a new level.”

A collection of essays from Italian novelist Umberto Eco on a wide range of topics.

Una introducción a la semiótica de la mano de su mayor experto: Umberto Eco Después de Obra abierta, en la que estudiaba los lenguajes experimentales del arte contemporáneo, y de Apocalípticos e integrados, donde abordaba las técnicas y los temas de la comunicación de masas, Umberto Eco analiza aquí las fronteras de la semiótica. Comprender los sistemas de signos obliga a ver los códigos como estructuras y explicarlas a través de otras estructuras más vastas, en un movimiento regresivo hacia la matriz originaria de toda comunicación, hasta llegar a una estructura no estructurada. La conclusión metafísica de esta búsqueda no puede ser más que el rechazo del código de códigos: la negación de la estructura ausente. Coordinando todas sus investigaciones precedentes, Umberto Eco vuelve a asentar las bases de la semiótica y propone un verdadero sistema de la cultura como comunicación. La crítica ha dicho... «La figura de Umberto Eco es tanto mayor cuanto más tiempo pasa». Vicente Verdú, El País

The #1 international bestselling historical novel from the award-winning and New York Times –bestselling author of The Name of the Rose . Nineteenth-century Europe—from Turin to Prague to Paris—abounds with the ghastly and the mysterious. Jesuits plot against Freemasons. Italian republicans strangle priests with their own intestines. French criminals plan bombings by day and celebrate Black Masses at night. Every nation has its own secret service, perpetrating forgeries, plots, and massacres. Conspiracies rule history. From the unification of Italy to the Paris Commune to the Dreyfus Affair to The Protocols of the Elders of Zion, Europe is in tumult and everyone needs a scapegoat. But what if behind all of these conspiracies, both real and imagined, lay one lone man? "Choreographed by a truth that is itself so strange a novelist need hardly expand on it to produce a wondrous tale . . . Eco is to be applauded for bringing this stranger-than-fiction truth vividly to life." — The New York Times " The Prague Cemetery takes the power of fakery in history to new heights. At the center of the narrative is the most notorious fake document in modern history, The Protocols of the Elders of Zion . . . As depicted with appalling gusto, the bubbling away of such stories drives on the terrors of history, feeding and lending credibility to the loud ravings of the depraved." — Times Literary Supplement (UK) "A novel that restores the irreverent and provocative spirit of great literature." — El Cultural (Spain) "Erudite and pop, sinister and passionate . . . A work destined to become a classic." — La Repubblica (Italy)

Una obra sugerente y libre sobre los valores del hombre contemporáneo, los confines de la vida humana, las limitaciones impuestas a las mujeres por la Iglesia y el sentido de la fe.

'The book is like the spoon: once invented, it cannot be bettered' - Umberto Eco. These days it is impossible to get away from discussions of whether the book will survive the digital revolution. Blogs, tweets and newspaper articles on the subject appear daily, many of them repetitive, most of them admitting ignorance of the future. Amidst the twittering, the thoughts of Jean-Claude Carrière and Umberto Eco come as a breath of fresh air. This thought-provoking book takes the form of a conversation in which Carrière and Eco discuss everything from how to define the first book to what is happening to knowledge now that infinite amounts of information are available at the click of a mouse. En route there are delightful digressions into personal anecdote. We find out about Eco's first computer and the book Carrière is most sad to have sold. And while, as Carrière says, the one certain thing about the future is that it is unpredictable, it is clear from this conversation that, in some form or other, the book will survive.

En katalog over kataloger. Overvejelser om, hvordan ideen om kataloger, lister, samlinger har ændret sig gennem århundrederne. Herved afspejler de tidsånden i forskellige perioder. Med lister fra bl. a. litteraturens og kunstens verden

A literary prank leads to deadly danger in this "endlessly diverting" intellectual thriller by the author of The Name of the Rose ( Time). Bored with their work, three Milanese book editors cook up an elaborate hoax that connects the medieval Knights Templar with occult groups across the centuries. Becoming obsessed with their own creation, they produce a map indicating the geographical point from which all the powers of the earth can be controlled—a point located in Paris, France, at Foucault's Pendulum. But in a fateful turn the joke becomes all too real. When occult groups, including Satanists, get wind of the Plan, they go so far as to kill one of the editors in their quest to gain control of the earth. Orchestrating these and other diverse characters into his multilayered semiotic adventure, Umberto Eco has created a superb cerebral entertainment. "An intellectual adventure story...sensational, thrilling, and packed with arcana."— The Washington Post Book World

A 17th century Italian nobleman is marooned on an empty ship in this "astonishing intellectual journey" by the author of Foucault's Pendulum ( San Francisco Chronicle). In the year 1643, a violent storm in the South Pacific leaves Roberto della Griva shipwrecked—on a ship. Swept from the Amaryllis, he has managed to pull himself aboard the Daphne, anchored in the bay of a beautiful island. The ship is fully provisioned, he discovers, but the crew is missing. As Roberto explores the different cabinets in the hold, he looks back on various episodes from his life: Ferrante, his imaginary evil brother; the siege of Casale, that meaningless chess move in the Thirty Years' War in which he lost his father and his illusions; and the lessons given him on Reasons of State, fencing, the writing of love letters, and blasphemy. In this "intellectually stimulating and dramatically intriguing" novel, Umberto Eco conjures a young dreamer searching for love and meaning; and an old Jesuit who, with his clocks and maps, has plumbed the secrets of longitudes, the four moons of Jupiter, and the Flood ( Chicago Tribune).

To recall his memories, Yambo withdraws to the family home where he searches old newspapers, comics, records, photo albums, and diaries to relive the story of his generation: Mussolini, Catholic education and guilt, Josephine Baker, Flash Gordon, and Fred Astaire.

Publisher Description

A self-confessed liar spins a fascinating tale of his life in this "comic and brilliantly baffling" historical novel by the author of The Name of the Rose ( The Guardian, UK). Constantinople, 1204. The Byzantine capital is under siege by the knights of the Fourth Crusade. Amid the carnage and confusion, one Baudolino saves a historian and high court official from certain death at the hands of the crusading warriors—and proceeds to regale him with the fantastical story of his life. Born a simple peasant in northern Italy, Baudolino has two major gifts: a talent for learning languages and a skill in telling lies. As a boy he meets a foreign commander who adopts Baudolino and sends him to the university in Paris, where he makes a number of adventurous friends. Spurred on by myths and their own reveries, they decide to go in search of the legendary priest-king Prester John who is said to rule over a vast kingdom in the East. The kingdom they seek is a phantasmagorical land of strange creatures with eyes on their shoulders and mouths on their stomachs; of eunuchs, unicorns, and lovely maidens. With dazzling digressions, outrageous tricks, extraordinary feeling, and vicarious reflections on our postmodern age, Baudolino is Eco the storyteller at his brilliant best.

Brother William of Baskerville is sent to investigate charges of heresy against Franciscan monks at a wealthy Italian abbey but finds his mission overshadowed by seven bizarre murders. A monk poisons the pages of the scandalous book Poetics by Aristotle; when anyone licks his fingers to turn the pages, they ingest the poison.