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Quote by Umberto Eco

“Text is like a musical score. It is true that Anna Karenina commits suicide in the same sense that is true that Beethoven's Fifth Symphony is in C minor (and not in F major, like the Sixth) and begins with G,G,G,E-flat.”

Book:On Literature

Work

On Literature

This book delves into the fundamental concepts and principles of literature, examining various literary forms, styles, and historical periods. It offers insights into the analysis of literary texts and the role of literature in society. more

Author

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

“[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.”

Umberto Eco The Name Of The Rose

Book:The Name of the Rose

Source: The Name of the Rose

“If it is true that, as Umberto Eco put it, social media gives a voice to legions of idiots, I’m afraid A.I. will further worsen the situation – we’ll have plenty of idiots to the nth degree who think they are geniuses.”

Social Media Artificial Intelligence Umberto Eco

Author:S.R. Piccoli

“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.”

Cinema Semiotics Umberto Eco

Book:Alice Doesn't: Feminism, Semiotics, Cinema

Source: Alice Doesn't: Feminism, Semiotics, Cinema

“Though I enjoy the occasional eBook from time to time, I will only stop reading books printed on paper when they pry them from my cold, dead, withered hands, and even then, they will be hard pressed to take them from me.”