Esotericism, Irony and Paranoia in Umberto Eco's Foucault's Pendulum Carole M Cusack
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On the Monitor, Darkly. from Mediation to Media by Way of Reality 73
Siegener Periodicum zur Internationalen____ Empirischen______ Literaturwissenschaft Herausgegeben von Reinhold Viehoff (Halle/Saale) Gebhard Rusch (Siegen) Jg. 25 (2006), Heft 1 Peter Lang Internationaler Verlag der Wissenschaften SPIEL Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL: Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 25 (2006), Heft 1 Peter Lang Frankfurt am Main • Berlin • Bern • Bruxelles • New York • Oxford • Wien Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://www.d-nb.de> abrufbar. ISSNISSN 2199-80780722-7833 © Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2009 Alle Rechte Vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. www.peterlang.de Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL 25 (2006), H. 1 Mediale Wende - Ansprüche, Konzepte und Diskurse / Mediatic turn - Claims, Concepts, and Discourses hrsg. von / ed. by Theo Hug (Innsbruck) Die Heftbezeichnung SPIEL 25 (2006), H. 1 ist produktionstechnischen Gründen geschuldet und bezieht sich nicht auf das tatsächliche Erscheinungsjahr dieses Bandes, 2008. Dafür bittet die Redaktion um Verständnis. Das Heft wird zitiert: Theo Hug (Hg.), 2008: Mediale Wende - Ansprüche, Konzepte und Diskurse. Frankfurt/Main: Peter Lang. (= special issue SPIEL, 25 (2006), H. 1). Owing to technical reasons of production, the title SPIEL 25 (2006), H. 1 does not refer to the actual year of publication of this issue. The editorial team asks for the readers’ indulgence. -
Postmodern Narration in Umberto Eco's the Name of The
Shanlax International Journal of English 1 Umberto Eco, Italy‟s most celebrated philosopher, semiotician, literary critic, linguist and novelist, is widely acclaimed for many of his influential scholarly works. His novels The Name of the Rose, Foucault’s Pendulum, Baudolino, An Island of the Day Before, Mysterious Flame of Queen Loana, The Prague Cemetery have gained much adulation from his readers. His recent novel Numero Zero has also earned greater Dr. B. Kathiresan popularity. An exceptional narrative style imposed in these Associate Professor of English novels identifies them predominantly with postmodern Thiruvalluvar University literature. The Name of the Rose is a postmodern novel where Eco recites a fictious tale of Adso of Melk who inturn narrates S.Pushpanjali his past to the readers. Adso‟s story deals with William along Research Scholar, Thiruvalluvar University with his novice Adso, solving the mystery of seven bizarre deaths that occurs in the Benadictine Monastery where they come o n a mission to partake in a theological disputation. The postmodern narration in the novel harnesses temporal distortion and unreliable narration. Temporal distortion refers to a technique that the postmodern authors implement in their novels to convey the story. It includes employing features like fragmentation and non- linear narration. Fragmentation is the disarray of events whereas non-linear narration is the usage of distorted timeline in the portrayal of events. A novel, in general, usually incorporates a structure that assembles the compendium of information belonging to the story in an organized fashion. When this fabrication breaks, there is an interruption in the disposal of the events of the story, affecting the totality of meaning. -
Ngafilms-Umberto-Eco-And-Film.Pdf
The universe of action depicted by the cinema is already a universe of signs. — umberto eco, “sulle articolazioni del codice cinematografico” 1 IPERSIGNIFICATO: UMBERTO ECO AND FILM A literary and cultural giant whose influence can be seen in many aspects of our rapidly evolving media, Umberto Eco (1932 – 2016) produced a critical oeuvre that remains import- ant to the study of cinema. Throughout decades of interdis- ciplinary writing, Eco seamlessly moved between academic work, semiotic analysis, acclaimed novels, and more informal cultural commentary, leaving indelible marks on each area. Eco once explained his approach as concerned “with the problems of language, communication, organization of the systems of signs that we use to describe the world and to tell it to one another,” acknowledging the relationship between his own work and the field of semiotics.2 A tracing of Eco’s theories inevitably recounts the history of cinema and reveals a mutual development. The film series at the National Gallery to cinematic language; if language is traditionally a pragmatic of Art illustrates the inextricable link between his work and its solution through which meaning is inevitably impoverished, subject matter, as the cinema itself was informed and chal- the moving image allows us to reclaim some of that meaning, lenged by his theoretical approach while also enriched by his a result the writer would refer to as ipersignificato.3 contributions. The films presented in the Gallery’s series distill Eco’s work Although his direct encounters with filmmaking were fleet- and map his critical footsteps, following a loose chronology ing — among them a near screenwriting collaboration with that illustrates the development of the theory and practice of Michelangelo Antonioni — Eco was, among many other filmmaking over the past century, while noting the progres- innovative roles, a founding father of film semiotics, a disci- sive awareness of what a language of film has the potential to pline propelled forward in a series of memorable debates at be. -
Eco, Umberto Y Martini, Carlo Maria – En Qué Creen Los Que No Creen
http://biblioteca.d2g.com ¿En qué creen los que no creen? Umberto Eco Carlo Maria Martini (Arzobispo de Milán) http://biblioteca.d2g.com En que creen los que no creen? Un diálogo sobre la ética en el fin del milenio Umberto Eco Carlo Maria Martini (Arzobispo de Milán) Con la intervención de Emanuele Severino Manlio Sgalambro Eugenio Scalfari Indro Montanelli Vittorio Foa Claudio Martelli Traducción de Carlos Gumpert Melgosa temas de hoy. http://biblioteca.d2g.com Este libro no podrá ser reproducido, ni total ni parcialmente, sin el previo permiso escrito del editor. Todos los derechos reservados. © 1996, Atlantide Editoriale S. p. A. © 1997, EDICIONES TEMAS DE HOY, S.A. (T.H.) Edición en español realizada con la mediación de la Agencia Letteraria Eulama Título original: In cosa crede chi non crede? Paseo de la Castellana, 28. 20046 Madrid Diseño de cubierta: Rudesindo de la Fuente Fotografías de cubierta: Cover (Umberto Eco) y Contífoto (Cario Maria Martini) Primera edición: octubre de 1997 ISBN (edición italiana): 88-86838-03-4 ISBN (edición española): 84-7880-876-0 Compuesto en J. A. Diseño Editorial, S. L. Reimpresión para Editorial Planeta Argentina S.A.I.C. Independencia 1668, 1100, Bs. As. Primera edición argentina: mayo de 1998 Hecho el depósito que prevé la ley 11.723 ISBN: 950-730-039-2 Impreso en la Argentina http://biblioteca.d2g.com Este libro El diálogo epistolar entre el cardenal Cario Maria Martini y Umberto Eco, que ocupa la primera parte del presente libro, dio comienzo en el primer número de la revista Liberal —aparecido el 22 de marzo de 1995— y prosiguió con ritmo trimestral. -
Hyperreality and Virtual Worlds: When the Virtual Is Real
sphera.ucam.edu ISSNe: 2695-5725 ● Número 19 ● Vol.II ● Año 2019 ● pp. 36-58 Hyperreality and virtual worlds: when the virtual is real Paulo M. Barroso, Polytechnic Institute of Viseu (Portugal) [email protected] Received: 12/11/19 ● Accepted: 10/12/19 ● Published: 19/12/19 How to reference this paper: Barroso, Paulo M. (2019). Hyperreality and virtual worlds: when the virtual is real, Sphera Publica, 2(19), 36‐58. Abstract This article questions what is hyperreality and underlines the role of the signs/images fostering the perception of a virtual world. It argues the potentiality of signs as artefacts. Starting from Agamben’s perspective regarding contemporary, the hyperreality is understood as a modern, visual and mass manifestation of the need for simulacra in a non-referential virtual world. How hyperreality, spectacle, simulation, and appearance emerge out of reality? What is authentic or real are issues raised using images and technological devices. The images are popular and amplify the effects of distraction and social alienation. The image is immediately absorbed, spectacular, attractive, a peculiar ready-to-think that eliminates or dilutes the concepts and produces a fast culture. Through a reflexive strategy, this article is conceptual (it has no case study or empirical work) and has the purpose of problematize the experience of hyperreality, which is reshaping and restructuring patterns of social life and social interdependence, and the ways we see, think, feel, act or just mean and interpret the reality. Keywords Hyperreality, image, real, virtual worlds, technology Barroso Hiperrealidad y mundos virtuales Hiperrealidad y mundos virtuales: cuando lo virtual es real Paulo M. -
How to Write a Thesis
How to Write a Thesis How to Write a Thesis U E translated by Caterina Mongiat Farina and Geoff Farina foreword by Francesco Erspamer The MIT Press Cambridge, Massachusetts London, England © 2015 Massachusetts Institute of Technology Translated from the original Italian, Come si fa una tesi di laurea: le materie umanistiche, © 1977/2012 Bompiani/RCS Libri S.p.A., Via Angelo Rizzoli 8 – 20132 Milano All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected]. his book was set in Chapparal Pro by the MIT Press. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data is available. isbn: 978-0-262-52713-2 10 9 8 7 6 5 4 3 2 1 CONTENTS Foreword by Francesco Erspamer ix Translators’ Foreword xv Introduction to the Original 1977 Edition xix Introduction to the 1985 Edition xxiii 1 THE DEFINITION AND PURPOSE OF THE THESIS 1.1 What Is a Thesis, and Why Is It Required? 1 1.2 For Whom Is This Book Written? 4 1.3 The Usefulness of a Thesis after Graduation 5 1.4 Four Obvious Rules for Choosing a Thesis Topic 7 2 CHOOSING THE TOPIC 2.1 Monograph or Survey? 9 2.2 Historical or Theoretical? 13 2.3 Ancient or Contemporary? 16 2.4 How Long Does It Take to Write a Thesis? 17 2.5 -
Carlo Maria Martini, Umberto
Carlo Maria Martini Umberto Eco IN COSA CREDE CHI NON CREDE ? CON INTERVENTI DI EMANUELE SEVERINO MANLIO SGALAMBRO EUGENIO SCALFARI INDRO MONTANELLI VITTORIO FOA CLAUDIO MARTELLI Indice IX Questo libro I. Dialoghi 5 UMBERTO ECO , L'ossessione laica della nuova Apocalisse 13 CARLO MARIA MARTINI , La speranza fa della Fine "un fine" 21 UMBERTO ECO , Quando inizia la vita umana? 29 CARLO MARIA MARTINI , La vita umana partecipa della vita di Dio 37 UMBERTO ECO , I maschi e le femmine secondo la Chiesa 51 CARLO MARIA MARTINI , La Chiesa non soddisfa attese, celebra misteri 61 CARLO MARIA MARTINI , Dove trova il laico la luce del bene? 69 UMBERTO ECO , Quando entra in scena l'altro, nasce l'etica II. Coro 83 EMANUELE SEVERINO , La tecnica è il tramonto di ogni buona fede 95 MANLIO SGALAMBRO , Il bene non può fondarsi su un Dio omicida 99 EUGENIO SCALFARI , Per agire moralmente affidiamoci all'istinto 109 INDRO MONTANELLI , Della mancanza di fede come ingiustizia 113 VITTORIO FOA , Come vivo nel mondo, ecco il mio fondamento 117 CLAUDIO MARTELLI , Il credo laico dell'umanesimo cristiano III. Ripresa 135 CARLO MARIA MARTINI , Ma l'etica ha bisogno della verità 146 Indice dei nomi Questo libro Questo libro inaugura la collana dei "Sentieri" di liberal, che nasce per rendere autonome e ancora più visibili le grandi direttrici di ricerca in cui la nostra rivista impegna le proprie energie, unite ai contributi di molti importanti collaboratori. Il dialogo epistolare tra il cardinale Carlo Maria Martini e Umberto Eco, che compone la prima parte, prese avvio sul primo numero di liberal - uscito il 22 marzo 1995 - ed è proseguito con cadenza trimestrale. -
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: from Postmodernism to Anti-Semitism
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: From Postmodernism to Anti-Semitism Saskia Elizabeth Ziolkowski La penna è una vanga, scopre fosse, scava e stana scheletri e segreti oppure li copre con palate di parole più pesanti della terra. Affonda nel letame e, a seconda, sistema le spoglie a buio o in piena luce, fra gli applausi generali. The pen is a spade, it exposes graves, digs and reveals skeletons and secrets, or it covers them up with shovelfuls of words heavier than earth. It bores into the dirt and, depending, lays out the remains in darkness or in broad daylight, to general applause. —Claudio Magris, Non luogo a procedere (Blameless) In 1967, Italo Calvino wrote a letter about the “molto interessante e strano” (very interesting and strange) writings of Thomas Bernhard, recommending that the important publishing house Einaudi translate his works (Frost, Verstörung, Amras, and Prosa).1 In 1977, Claudio Magris held one of the !rst international conferences for the Austrian writer in Trieste.2 In 2014, the conference “Il più grande scrittore europeo? Omag- gio a Thomas Bernhard” (The Greatest European Author? Homage to 1 Italo Calvino, Lettere: 1940–1985 (Milan: Mondadori, 2001), 1051. 2 See Luigi Quattrocchi, “Thomas Bernhard in Italia,” Cultura e scuola 26, no. 103 (1987): 48; and Eugenio Bernardi, “Bernhard in Italien,” in Literarisches Kollo- quium Linz 1984: Thomas Bernhard, ed. Alfred Pittertschatscher and Johann Lachinger (Linz: Adalbert Stifter-Institut, 1985), 175–80. Both Quattrocchi and Bernardi -
Urban Interventionism and the Aesthetic Order of the City
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Edge Hill University Research Information Repository Urban interventionism as a challenge to aesthetic order: Towards an aesthetic criminology Andrew Millie Pre-publication version Published as: Millie, A. (2016) ‘Urban interventionism as a challenge to aesthetic order: Towards an aesthetic criminology’, Crime, Media, Culture. Online First DOI: 0.1177/1741659016631609 Abstract This article is concerned with ideas of urban order and considers the scope for playing with people’s expectations of order. In particular, drawing on criminological, philosophical and urban studies literatures, the article explores the notion of aesthetic order. The power to dictate aesthetic order is highlighted. The example of urban interventionism is used to consider those that challenge an approved aesthetic order. Here the article draws on cultural criminology and visual criminology, with illustrations coming from research in Toronto, Canada. Influenced by Alison Young’s (2014a) conceptualisation of ‘cities within the city’, the article considers how different people using the same space have different or overlapping ways of understanding aesthetic order. Of relevance to criminology, it is contended that people or things that contravene an approved aesthetic order may face banishment and criminalization. It is concluded that respect for such difference is required. An aesthetic criminology is suggested. Key words: Aesthetic criminology, aesthetic order, disorder, order, urban intervention Introduction This article is concerned with the aesthetic order of the city. It considers the scope for playing with people’s expectations of aesthetic order and the extent to which deviations are criminalized. The article draws on various urban studies, criminological and philosophical literatures and is illustrated using the example of urban interventions. -
Narrativizing Theory: the Role of Ambiguity in Religious Aesthetics
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2018 Narrativizing Theory: The Role of Ambiguity in Religious Aesthetics Benjamin John Peters University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Peters, Benjamin John, "Narrativizing Theory: The Role of Ambiguity in Religious Aesthetics" (2018). Electronic Theses and Dissertations. 1418. https://digitalcommons.du.edu/etd/1418 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Narrativizing Theory: The Role of Ambiguity in Religious Aesthetics ————— A Dissertation Presented to the Faculty of the University of Denver and the Iliff School of Theology Joint PhD Program University of Denver ————— In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy ————— by Benjamin John Peters March 2018 Advisor: Dr. Gregory Robbins Author: Benjamin John Peters Title: Narrativizing Theory: The Role of Ambiguity in Religious Aesthetics Advisor: Dr. Gregory Robbins Degree Date: March 2018 ABSTRACT This project expands S. Brent Plate’s “invented religious aesthetics” by bringing it into conversation with Umberto Eco’s theory of ambiguity. It articulates the space that ambiguity opens within the field of religious aesthetics when viewed as a liminal or interdisciplinary theory that neither privileges the starting points of transcendental aesthetics nor the “neo-arches” of theories of materiality. -
Comedy for Dinner
Page intentionally left in blank Título: Comedy for dinner – and other dishes Coordenador: Constantino Pereira Martins © dos autores das respectivas comunicações Colecção: eQVODLIBET 4 1ª edição: março de 2019 ISBN: 978-989-54328-1-3 What if everything in the world were a misunderstanding; what if laughter really were weeping! (...) As a special dispensation, I was granted the favor of making a wish. "What do you want," asked Mercury. "Do you want youth, or beauty, or power, or a long life, or the most beautiful girl, or anyone of the other glorious things we have in the treasure chest? Choose-but only one thing." For a moment I was bewildered; then I addressed the gods, saying: My esteemed contemporaries, I choose one thing-that I may always have the laughter on my side. Not one of the gods said a word; instead, all of them began to laugh. From that I concluded that my wish was granted and decided that the gods knew how to express themselves with good taste, for it would indeed have been inappropriate to reply solemnly: It is granted to you. Kierkegaard, Diapsalmata1 1 (Ed.) Howard & Edna Hong, Kierkegaard, Diapsalmata, Either/or, Princeton University Press, 1987. To the shining laughter of my son Guilherme combined complicity of loud radiant symphony that bravely defies the hard rule of time and space. May God always favor laughter on your side. Contents Acknowledgements ………………………………………………………………………….……………………... ix Foreword ………………………………………………………………………...…………………………..…... x-xix 1. Carl Jung and the Role of Shadow and Trickster in Political Humor: Social Philosophical Analysis, Jarno Hietalahti ………………………………………....………………... 20-41 This chapter analyzes the relationship between humor and power in the light of court jesters (comedians) and sovereign (president) based on C.G. -
Living Art and the Art of Living
LIVING ART AND THE ART OF LIVING: REMAKING HOME IN ITALY IN THE 1960s Teresa Kittler PhD Thesis History of Art University College London 2014 1 DECLARATION I, Teresa Kittler, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis focuses on the social, material, and aesthetic engagement with the image of home by artists in Italy in the 1960s to offer new perspectives on this period that have not been accounted for in the literature. It considers the way in which the shift toward environment, installation and process-based practices mapped onto the domestic at a time when Italy had become synonymous with the design of environments. Over four chapters I explore the idea of living-space as the mise-en-scène, and conceptual framework, for a range of artists working across Italy in ways that both anticipate and shift attention away from accounts that foreground the radical architectural experiments enshrined in MoMA’s landmark exhibition Italy: the New Domestic Landscape (1972). I begin by examining the way in which the group of temporary homes made by Carla Accardi between 1965 and 1972 combines the familiar utopian rhetoric of alternative living with attempts to redefine artistic practice at this moment. I then go on to look in turn at the sculptural practice of artists Marisa Merz and Piero Gilardi in relation to the everyday lived experience of home. This question is first considered in relation to the material and psychic challenges Merz poses to the gendering of homemaking with Untitled (Living Sculpture) 1966.