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Quote by Umberto Eco

“[Adso, experiencing a divine allegorical vision] I saw a voluptuous woman, naked and fleshless, gnawed by foul toads, sucked by serpents, coupled with a fat-bellied satyr whose gryphon legs were covered with wiry hairs, howling its own damnation from an obscene throat; and I saw a miser, stiff in the stiffness of death on his sumptuously columned bed, now helpless prey of a cohort of demons, one of whom tore from the dying man's mouth his soul in the form of an infant (alas, never to be again born to eternal life); and I saw a proud man with a devil clinging to his shoulders and thrusting his claws into the man's eyes, while two gluttons tore each other apart in a repulsive hand-to-hand struggle, and other creatures as well, goat head and lion fur, panther's jaws, all prisoners in a forest of flames whose searing breath I could almost feel.”

Quote by Umberto Eco

Book:The Name of the Rose
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Work

The Name of the Rose

This novel delves into the life of a young monk who becomes entangled in the political intrigue of the Catholic Church during the 13th century. It examines the conflict between the purity of faith and the corrupting influence of power, offering a rich tapestry of historical detail and moral complexity. more

Author

Umberto Eco
Umberto Eco

Italian essayist, scholar, and critic. Umberto Eco is renowned for his unique literary style and profound academic background. His works integrate history, philosophy, literature, and semiotics, with his most famous novel being 'The Name of the Rose'. more

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“Eco's emphasis is a productivist one: his view of sign production, and especially of the mode he calls invention, associating it with art and creativity, is from the perspective of the maker, the speaker, the artist, the producer of signs. But what about the woman? She has no access to the codes of the invisible city which represents her and absents her; she is not in the place of Eco's "subject of semiosis"-homo faber, the city builder, the producer of signs. Nor is she in the repre­sentation which inscribes her as absent. The woman cannot transform the codes; she can only transgress them, make trouble, provoke, per­vert, turn the representation into a trap ("this ugly city, this trap"). For semiotics too, finally, the founding tale remains the same. Though now the place of the female subject in language, in discourse, and in the social may be understood another way, it is an equally impossible position. She now finds herself in the empty space between the signs, in a void of meaning, where no demand is possible and no code available; or, going back to the cinema, she finds herself in the place of the female spectator, between the look of the camera (the masculine representation) and the image on the screen (the specular fixity of the feminine representation), not one or the other but both and neither.”

CinemaSemioticsUmberto Eco
Book:Alice Doesn't: Feminism, Semiotics, Cinema
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“Increasing numbers of developmental researchers observe that when parents read stories on e-books with their children, their interactions frequently center on the more mechanical and more gamelike aspects of e-books, rather than the content and the words and ideas in the stories. Most parents are simply better at fostering language and helping to clarify concepts when they read physical books to their preschool children.”

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Book:Reader, Come Home: The Reading Brain in a Digital World
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