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Eco, Umberto |
Also found in: Wikipedia, Hutchinson | 0.06 sec. |
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Eco, Umberto (əmbĕr`tō ĕcō), 1932–, Italian novelist, essayist, and scholar. His first novel, The Name of the Rose (tr. 1983), is a medieval mystery. A pastiche of detective fiction, medieval philosophy, and moral reflection, it encapsulates his semiotic theory, which describes how signs are produced and interpreted in the world. The novel presents clues for the reader to decode, but as the reader grapples with the novel's deeper meanings, the mystery becomes secondary. Eco's other novels include Foucault's Pendulum (tr. 1989), The Island of the Day Before (tr. 1995), Baudolino (tr. 2002), and The Mysterious Flame of Queen Loana (tr. 2005). Among his important theoretical books are A Theory of Semiotics (1976), The Role of the Reader (1979), and The Limits of Interpretation (1990).
BibliographySee studies by T. Coletti (1988) and M. T. Inge, ed. (1988). Eco, Umberto(born Jan. 5, 1932, Alessandria, Italy) Italian critic and novelist. He has taught since 1971 at the University of Bologna. In The Open Work (1962), he suggested that some literature and modern music is fundamentally ambiguous and invites the audience to participate in the interpretive and creative process. He explored other areas of communication and semiotics in A Theory of Semiotics (1976), Semiotics and the Philosophy of Language (1984), and The Limits of Interpretation (1991). His novels include the erudite but best-selling murder mystery The Name of the Rose (1980; film, 1986), Foucault's Pendulum (1988), and The Island of the Day Before (1995). How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
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Born in Milan in 1922, Giorgio Manganelli did not emerge into the literary world until the early '60s, when he joined Gruppo '63, the avant-garde literary movement whose best-known members included Italo Calvino and Umberto Eco. For Dexter, Ian Pears, and Umberto Eco, there is no answer to the silence of God. This would support the interpretation of the films as a "wake-up" call to a society increasingly enslaved to corporate commercialism and what Umberto Eco refers to as "hyperreality," a reductionistic version of the real world (epitomized by gargantuan theme parks) that leaves us mentally and spiritually impoverished. |
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