En el Retrato del artista adolescente, Joyce asume la tarea de hacerse un nombre, al tiempo que confiesa la ajenidad frente al cuerpo y muestra la temprana conciencia del lenguaje. Interesa mostrar ...cómo, frente a esta novela, Umberto Eco insiste en el ropaje escolástico, o la mentalidad medieval transversal en la obra de Joyce, concluyendo que el irónico "retrato del tomista adolescente" no coincide tanto con el Joyce de Ulysses, sino que es el retrato de una "situación cultural" reconocida por el escritor irlandés y dotada de objetividad (Eco, 2000, p. 58). Por su parte, Jacques Lacan (2013) privilegia en esta novela, hecha con recuerdos infantiles, la función que cumplen allí la letra y el cuerpo. El artista adolescente deja caer el cuerpo, al tiempo que se desliza en una cascada de letras y palabras que parecen mirarle de frente. Es así como surge el joven artista de la caída y de la letra, con nombre de mártir-inventor, cristiano-pagano, saint homme-sinthome, augur y hacedor de laberintos: Stephen Dedalus.
Illuminating Eco Ross, Charlotte
2004, 20170302, 2017-03-02
eBook
Illuminating Eco covers the range of British scholarship on the prolific literary and theoretical work of Umberto Eco. With essays by scholars such as Michael Caesar and David Robey, the volume ...provides an overview of current research being carried out by a new generation of academics. In addition, it provides an opportunity to view the interaction between Eco's fiction and his theoretical texts and suggests future avenues of research. The interdisciplinary nature of the contributions makes this collection accessible to Italianists and non-Italian speakers alike in order to situate Eco's work in the wider literary and critical sphere. Contributions have been divided into four sections, with the first containing essays that engage with Eco's writing through a strong awareness of the reading strategies suggested and required by his texts. The second section is composed of essays that discuss different approaches to interpretative strategies, including the relationship between Eco's theoretical writing and his own fiction. The third part consists of new responses to Eco's work, each of which questions previous theoretical interpretations and creates new applications for established approaches. Finally, the fourth section contains a written response from Eco himself to some of the questions raised by these essays, and a translation of the final chapter from his most recent publication, Sulla letteratura, which discusses the development of his narrative works from conception to execution.
Charlotte Ross Lecturers in the Department of Italian Studies at the University of Birmingham. Her PhD research focused on the presentation of science, technology and 'progress' in the work of Primo Levi. Rochelle Sibley is Postgraduate Tutor in the Department of English and Comparative Literature at the University of Warwick, and Associate Lecturer at the Centre for Translation Studies at the University of Surrey. Her PhD research addresses the influence of Dante's cosmology in the Commedia on the representation of reality in James Joyce's Ulysses, Jorge Luis Borges's Labyrinths, and Italo Calvino's Ti con zero.
Contents: Foreword; Introduction: interpretation and uncertainty, David Robey; Part 1 Readers of Open (Para)Texts: Maps and territories: Eco crossing the boundary, Jonathan Key; Aspects of the labyrinth in The Name of the Rose: chaos and order in the Abbey Library, Rochelle Sibley; Eco and the reading of the Second Level, Manuela Barranu; Eco's discovery of America or travelling the postmodern way, Vanna Motta; Part 2 Overinterpreting the Signs: Economic interpretation, Clare Birchall; Eco's hermeneutics and translation studies: between 'manipulation' and 'overinterpretation', Edoardo Crisafulli; The serendipities of semiotics, or knowledge as a 'Theory of Next Thursday', Charlotte Ross; Part 3 Future Directions: Reconsidering the implications of the 'pre-semiotic' writings in Umberto Eco, Sangjin Park; Traces of analytic philosophy: meaning, reference and style in Kant and the Platypus, Florian Mussgnug; Eco on the move: notes for a re-reading, Michael Caesar; Part 4 A Contribution by Umberto Eco: How I write, Umberto Eco; A response by Eco; Bibliography; Index.
El vals criollo es un género musical que se practica en el Perú desde finales del siglo XIX y tiene una función importante en Valses y otras falsas confesiones (1972), de la poeta peruana Blanca ...Varela, integrante de la denominada generación del cincuenta. Sobre la base del concepto de desmitificación (planteado por Umberto Eco) y del marco teórico de la Retórica General Textual de Stefano Arduini, se analizan algunos poemas representativos de Valses y otras falsas confesiones. Nuestro propósito central es plantear que, para Varela, hay dos tipos de vals: el criollo y el que defiende a los grupos marginales. Varela desmitifica el vals criollo y, a la vez, formula otra clase de vals que toma partido por los grupos periféricos.
While Umberto Eco's intellectual itinerary was marked by his early studies of post-Crocean aesthetics and his spectacular concentration on linguistics, information theory, structuralism, semiotics, ...cognitive science, and media studies, what constitutes the peculiarity of his critical and fiction writing is the tension between a typically medieval search for a code and the hermeneutic representative of deconstructive tendencies. This tension betweencosmosandchaos, order and disorder, is reflected in the wordchaosmos.
In this brilliant assessment of the philosophical basis of Eco's critical and fictional writing, Cristina Farronato explores the other distinctive aspect of Eco's thought - the struggle for a composition of opposites, the outcome deriving from his ability to elicit similar contrasts from the past and re-play them in modern terms. Focusing principally on how Eco's scholarly background influenced his study of semiotics, Farronato analyzesThe Name of the Rosein relation to William of Ockham's epistemology, C.S. Peirce's work on abduction, and Wittgenstein's theory of language. She discussesFoucault's Pendulumas an explicit comment on the modern debate on interpretation through a direct reference to Early Modern hermetic thought, correlatesThe Island of the Day Beforeas a postmodern mixture of science and superstition, and reviewsBaudolinoas an historical/fantastic novel that once again situates the Middle Ages in a postmodern context.Eco's Chaosmosdemonstrates how Eco's use of semiotic theory is important for an understanding of the postmodern aspects of today's literature and culture.
El presente artículo, dentro del paradigma de la comunicación “autor-texto-lector”, considera la categoría de niño-lector y la especificidad de la recepción como la óptica del estudio de la ...literatura infantil, en la interpretación de la poética del texto. Por ello, se analiza la perspectiva de utilizar las ideas de recepción fenomenológica en relación a textos dirigidos a lectores jóvenes. Se ha aclarado la posibilidad de utilizar las teorías de Umberto Eco sobre el lector ejemplar, y las ideas de Roland Barthes sobre el placer y el disfrute de la lectura en el proceso de análisis de la literatura infantil. En el ejemplo de la prosa ucraniana moderna, se demostró cómo la implementación de las estrategias textuales del autor influyó en la formación de tendencias temáticas y de género en la literatura infantil, dado el tipo de recepción de los lectores jóvenes. Y los resultados de un estudio empírico, que involucró a 137 lectores activos de bibliotecas en Ivano-Frankivsk (Ucrania), revelan los intereses de los destinatarios, los horizontes de expectativas y las características de la percepción emocional del texto por parte de los niños modernos de 12 a 15 años.
Cet article traite de l’imaginaire du biais « dialogique » comme principe à la fois complémentaire et antagoniste de La structure absente d’Umberto Eco. Pour Eco, une épistémologie de la différence ...vise à montrer les diverses manières de caractériser la structure dont la nature n’est pas, à son avis, un facteur unique. Et, comme nous le verrons, c’est pour penser le caractère épistémique du terme « structure » qu’Eco y ajouta le mot « absent ». Mais pas comme un déni : comme un doute, une ouverture et une possibilité sur ce que nous appellerons, pour l’instant, un crépuscule de la Raison, le tragique.
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