New Releases by Umberto Eco

In this authoritative, lively book, the celebrated Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas. Juxtaposing theology and science, poetry and mysticism, Eco explores the relationship that existed between the aesthetic theories and the artistic experience and practice of medieval culture. "[A] delightful study. . . . [Eco''s] remarkably lucid and readable essay is full of contemporary relevance and informed by the energies of a man in love with his subject." --Robert Taylor, Boston Globe "The book lays out so many exciting ideas and interesting facts that readers will find it gripping." --Washington Post Book World "A lively introduction to the subject." --Michael Camille, The Burlington Magazine "If you want to become acquainted with medieval aesthetics, you will not find a more scrupulously researched, better written (or better translated), intelligent and illuminating introduction than Eco''s short volume." --D. C. Barrett, Art Monthly

Umberto Eco is a famous scholar-novelist, and Cardinal Martini is a famous scholar-bishop. Eco is an urbane ex-Catholic. Cardinal Martini is an urbane prince of the Church. Belief or Nonbelief?, a little book of eight chapters, is a dialogue between them, first published by an Italian newspaper. Each author writes four alternating chapters addressing the hopes of humanity at the dawn of a new millennium, the question of the beginning of human life, the role of the Church, and how we can know Truth. Belief or Non Belief? is a good idea, but it suffers from a couple of problems. The format and content are too obviously recycled newspaper articles. While the engaging, popular style is welcome, the necessary brevity of each chapter means arguments cannot be developed, and the reader is left vaguely dissatisfied. It would have been better if the authors had expanded the project. Both men write well in a sophisticated and polite Italian style that is entertaining at first, but it soon sounds artificial to the English reader. Finally, there are some difficulties in translation: for example, "illumination" is used instead of "enlightenment" and "layman" is consistently used where "non-Catholic" is probably intended. Despite these criticisms, Belief or Nonbelief? is a sharp little book giving a fresh perspective on age-old questions. --Dwight Longenecker

How do we know a cat is a cat . . . and why do we call it a cat? An “intriguing and often fascinating” look at words, perceptions, and the relationship between them (Newark Star-Ledger). In Kant and the Platypus, the renowned semiotician, philosopher, and bestselling author of The Name of the Rose and Foucault’s Pendulum explores the question of how much of our perception of things is based on cognitive ability, and how much on linguistic resources. In six remarkable essays, Umberto Eco explores in depth questions of reality, perception, and experience. Basing his ideas on common sense, Eco shares a vast wealth of literary and historical knowledge, touching on issues that affect us every day. At once philosophical and amusing, Kant and the Platypus is a tour of the world of our senses, told by a master of knowing what is real and what is not. “An erudite, detailed inquirity into the philosophy of mind . . . Here, Eco is continental philosopher, semiotician, and cognitive scientist rolled all into one.” —Library Journal (starred review)

Umberto Eco''s latest work unlocks the riddles of history in an exploration of the "linguistics of the lunatic," stories told by scholars, scientists, poets, fanatics, and ordinary people in order to make sense of the world. Exploring the "Force of the False," Eco uncovers layers of mistakes that have shaped human history, such as Columbus''s assumption that the world was much smaller than it is, leading him to seek out a quick route to the East via the West and thus fortuitously "discovering" America. In a careful unveiling of the fabulous and the false, Eco shows us how serendipities - unanticipated truths - often spring from mistaken ideas. From Leibniz''s belief that the I Ching illustrated the principles of calculus to Marco Polo''s mistaking a rhinoceros for a unicorn, Eco tours the labyrinth of intellectual history, illuminating the ways in which we project the familiar onto the strange.

The idea that there once existed a language which perfectly and unambiguously expressed the essence of all possible things and concepts has occupied the minds of philosophers, theologians, mystics and others for at least two millennia. This is an investigation into the history of that idea and of its profound influence on European thought, culture and history. From the early Dark Ages to the Renaissance it was widely believed that the language spoken in the Garden of Eden was just such a language, and that all current languages were its decadent descendants from the catastrophe of the Fall and at Babel. The recovery of that language would, for theologians, express the nature of divinity, for cabbalists allow access to hidden knowledge and power, and for philosophers reveal the nature of truth. Versions of these ideas remained current in the Enlightenment, and have recently received fresh impetus in attempts to create a natural language for artificial intelligence. The story that Umberto Eco tells ranges widely from the writings of Augustine, Dante, Descartes and Rousseau, arcane treatises on cabbalism and magic, to the history of the study of language and its origins. He demonstrates the initimate relation between language and identity and describes, for example, how and why the Irish, English, Germans and Swedes - one of whom presented God talking in Swedish to Adam, who replied in Danish, while the serpent tempted Eve in French - have variously claimed their language as closest to the original. He also shows how the late eighteenth-century discovery of a proto-language (Indo-European) for the Aryan peoples was perverted to support notions of racial superiority. To this subtle exposition of a history of extraordinary complexity, Umberto Eco links the associated history of the manner in which the sounds of language and concepts have been written and symbolized. Lucidly and wittily written, the book is, in sum, a tour de force of scholarly detection and cultural interpretation, providing a series of original perspectives on two thousand years of European History. The paperback edition of this book is not available through Blackwell outside of North America.

Een door drie redacteuren van een Milanese uitgeverij bedacht occult complot achter de wereldgeschiedenis, dat aanvankelijk een middel tot amusement was, wordt een bedreiging voor lichaam en geest.

L''anti Robinson Cruso?︠ Un roman dans lequel Eco le linguiste vient prt̊er main forte ̉Eco le romancier. Le hřos est un intellectuel, fils de hobereau pim̌ontais, naugrag ̌en 1643 face ̉une des l̋es de l''archipel des Fidji, qui cherche ̉comprendre le monde. Selon Pierre Lepape, l''auteur a invent ̌une nouvelle forme de roman historique qui trouve ses fondements dans l''histoire culturelle et trac ̌une vaste fresque de l''Europe baroque. Pour le traducteur ce roman-encyclopďie est aussi un roman de formation, d''espionnage et d''amour. [SDM].

“Impishly witty and ingeniously irreverent” essays on topics from cell phones to librarians, by the author of The Name of the Rose and Foucault’s Pendulum (The Atlantic Monthly). A cosmopolitan curmudgeon the Los Angeles Times called “the Andy Rooney of academia”—known for both nonfiction and novels that have become blockbuster New York Times bestsellers—Umberto Eco takes readers on “a delightful romp through the absurdities of modern life” (Publishers Weekly) as he journeys around the world and into his own wildly adventurous mind. From the mundane details of getting around on Amtrak or in the back of a cab, to reflections on computer jargon and soccer fans, to more important issues like the effects of mass media and consumer civilization—not to mention the challenges of trying to refrigerate an expensive piece of fish at an English hotel—this renowned writer, semiotician, and philosopher provides “an uncanny combination of the profound and the profane” (San Francisco Chronicle). “Eco entertains with his clever reflections and with his unique persona.” —Kirkus Reviews Translated from the Italian by William Weaver

No Marketing Blurb

Presents four theories describing the limits of literary interpretation, challenging "the cancer of uncontrolled interpretation" that diminishes the meaning and the basis of communication. -- Back cover.

In this exhilarating book, we accompany Eco as he explores the intricacies of fictional form and method. Using examples from fairy tales and Flaubert, Poe and Mickey Spillane, Eco draws us in with a novelist’s techniques, making us his collaborators in the creation of his text and in the investigation of some of fiction''s most basic mechanisms.

Playful parodies by the author of The Name of the Rose and Foucault''s Pendulum. Here, Eco pokes fun at the oversophisticated, overacademic, and overintellectual, and along the way makes penetrating comments about our modern mass culture and the elitist avant-garde in art in criticism.

This book brings together some of the most distinguished figures currently at work in philosophy, literary theory and criticism to debate the limits of interpretation.

This book is significant for its concept of "openness"--the artist''s decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.

Each wants to be the first on Mars, but they all land at the same time.

The well-known Italian semiotician and novelist Umberto Eco discloses for the first time to English-speaking readers the unsuspected richness, breadth, complexity, and originality of the aesthetic theories advanced by the influential medieval thinker Thomas Aquinas, heretofore known principally as a scholastic theologian. Inheriting his basic ideas and conceptions of art and beauty from the classical world, Aquinas transformed or modified these ideas in the light of Christian theology and of developments in metaphysics and optics during the thirteenth century. Setting the stage with an account of the vivid aesthetic and artistic sensibility that flourished in medieval times, Eco examines Aquinas''s conception of transcendental beauty, his theory of aesthetic perception or visio, and his account of the three conditions of beauty--integrity, proportion, and clarity--that, centuries later, emerged again in the writings of the young James Joyce. He examines the concrete application of these theories in Aquinas''s reflections on God, mankind, music, poetry, and scripture. He discusses Aquinas''s views on art and compares his poetics with Dante''s. In a final chapter added to the second Italian edition, Eco examines how Aquinas''s aesthetics came to be absorbed and superseded in late medieval times and draws instructive parallels between Thomistic methodology and contemporary structuralism. As the only book-length treatment of Aquinas''s aesthetics available in English, this volume should interest philosophers, medievalists, historians, critics, and anyone involved in poetics, aesthetics, or the history of ideas.

"Eco wittily and enchantingly develops themes often touched on in his previous works, but he delves deeper into their complex nature . . . this collection can be read with pleasure by those unversed in semiotic theory." —Times Literary Supplement

Daß er in den Mauern der prächtigen Benediktinerabtei an den Hängen des Apennin das Echo eines verschollenen Lachens hören würde, das hell und klassisch herüberklingt aus der Antike, damit hat der englische Franziskanermönch William von Baskerville nicht gerechnet. Zusammen mit Adson von Melk, seinem etwas tumben, jugendlichen Adlatus, ist er in einer höchst delikaten politischen Mission unterwegs. Doch in den sieben Tagen ihres Aufenthalts werden die beiden mit kriminellen Ereignissen und drastischen Versuchungen konfrontiert: Ein Mönch ist im Schweineblutbottich ertrunken, ein anderer aus dem Fenster gesprungen, ein dritter wird tot im Badehaus gefunden. Aber nicht umsonst stand William lange Jahre im Dienste der heiligen Inquisition. Das Untersuchungsfieber packt ihn. Er sammelt Indizien, entziffert magische Zeichen, entschlüsselt Manuskripte und dringt immer tiefer in ein geheimnisvolles Labyrinth vor, über das der blinde Seher Jorge von Burgos wacht ...

" . . . the greatest contribution to [semiotics] since the pioneering work of C. S. Peirce and Charles Morris." —Journal of Aesthetics and Art Criticism " . . . draws on philosophy, linguistics, sociology, anthropology and aesthetics and refers to a wide range of scholarship . . . raises many fascinating questions." —Language in Society " . . . a major contribution to the field of semiotic studies." —Robert Scholes, Journal of Aesthetics and Art Criticism " . . . the most significant text on the subject published in the English language that I know of." —Arthur Asa Berger, Journal of Communication Eco''s treatment demonstrates his mastery of the field of semiotics. It focuses on the twin problems of the doctrine of signs—communication and signification—and offers a highly original theory of sign production, including a carefully wrought typology of signs and modes of production.