Umberto Eco, 翁貝托‧埃科 在La Milanesiana震撼人心的12小時演講稿：《站在巨人的肩膀上/米蘭講稿》公案：作者在演講過程中投射的圖像豐富了這本書的吸引力。?? 哈佛大學出版社英譯本：純文字。《米蘭報告書》 博士論文有英文版關於聖托馬斯·阿奎那(St. Thomas Aquinas) 的美學。the Italian semiotician and globally successful novelist【協作】OK，為艾可的死乾杯吧！ 2003 Bachelard 四書: 科學精神的形成，火的精神分析，空間詩學/夢想 詩學《巴黎評論》採訪安伯托·艾柯Sulle spalle dei giganti (Collana I fari, Milano, La nave di Teseo, 2017. English translation by Alastair McEwen: On the Shoulders of Giants, Harvard UP, 2019)
Sulle spalle dei giganti rappresenta per i lettori di Eco un evento festoso. Lontano dalle aule universitarie, dai congressi accademici, dalle cerimonie onorarie, Eco scrive questi testi, nel corso di tre lustri, per intrattenere gli spettatori (che ogni volta per lui accorrono a frotte) della Milanesiana, il festival ideato e diretto da Elisabetta Sgarbi. Testi che il più delle volte traggono spunto dal tema stesso che ogni anno la Milanesiana si dà, per poi scorrere lungo rivoli di un repertorio che attinge alla filosofia quanto alla letteratura, all’estetica, all’etica e ai mass media. Come dire: la quintessenza dell’universo echiano, raccontato con un linguaggio affabile, intriso di ironia, talora giocoso, affilato quando necessario. Le radici della nostra civiltà, i canoni mutevoli della bellezza, il falso che si invera e modifica il corso della storia, l’ossessione del complotto, gli eroi emblematici della grande narrativa, le forme dell’arte, aforismi e parodie sono alcuni degli spunti di attrazione di un libro arricchito dalle immagini che l’autore usava proiettare nel corso del suo dire.
A laboratory of excellence in literature, cinema, music, art, science and philosophy, the Milanesiana has been bringing international personalities from the ...
A posthumous collection of essays on the nature of ugliness, the seduction of mysteries and the beginnings of language.
By Umberto Eco. Translated from the Italian by Alastair McEwen. Available October 22 from Belknap Press.
Sulle spalle dei giganti (Collana I fari, Milano, La nave di Teseo, 2017, ISBN978-88-934-4271-8 – English translation by Alastair McEwen: On the Shoulders of Giants, Harvard UP, 2019)
A posthumous collection of essays by one of our greatest contemporary thinkers that provides a towering vision of Western culture.
In Umberto Eco’s first novel, The Name of the Rose, Nicholas of Morimondo laments, “We no longer have the learning of the ancients, the age of giants is past!” To which the protagonist, William of Baskerville, replies: “We are dwarfs, but dwarfs who stand on the shoulders of those giants, and small though we are, we sometimes manage to see farther on the horizon than they.”
On the Shoulders of Giants is a collection of essays based on lectures Eco famously delivered at the Milanesiana Festival in Milan over the last fifteen years of his life. Previously unpublished, the essays explore themes he returned to again and again in his writing: the roots of Western culture and the origin of language, the nature of beauty and ugliness, the potency of conspiracies, the lure of mysteries, and the imperfections of art. Eco examines the dynamics of creativity and considers how every act of innovation occurs in conversation with a superior ancestor.
In these playful, witty, and breathtakingly erudite essays, we encounter an intellectual who reads comic strips, reflects on Heraclitus, Dante, and Rimbaud, listens to Carla Bruni, and watches Casablanca while thinking about Proust. On the Shoulders of Giants reveals both the humor and the colossal knowledge of a contemporary giant.
補充女性主義觀點下的問題，類似的分析方式，可參考刊登在哈佛教育評論中對「全面品管TQM的批判」，Total Quality Management in the Academy: A Rebellious Reading (Harvard Educational Review 1995) Total Quality Management in the Academy: A Rebelli...
加斯東‧巴舍拉 (Gaston Bachelard) ，《空間詩學》 (LA POÉTIQUE DE L'ESPACE)，龔桌軍、王靜慧譯，台北：張老師文化， 2003 Bachelard 四書: 科學精神的形成，火的精神分析，空間詩學/夢想 詩學
Magisterial lectures…Throughout his mature work Eco is on a quest for real meaning, which makes him so relevant for our times…The man proves a rare human spectacle: at once immensely erudite and genuinely humble; aware of his intellectual stature and yet self-deprecating; creator of sophisticated literary and intellectual worlds, and yet a strikingly unpretentious mind.
Authors
Umberto Eco (1932–2016) was an acclaimed writer, philosopher, medievalist, and semiotician. In addition to dozens of nonfiction books, he authored seven novels, including The Name of the Rose, which has been translated into more than forty languages and has sold more than fifty million copies worldwide.
Alastair McEwen is an award-winning literary translator. After nearly forty years in Italy he now lives in his native Scotland.
Never before published texts by Umberto Eco. These are the Master Classes that Umberto Eco offered at universities, along with one class that he was not able to offer.
On the Shoulders of Giants represents a great festive event for readers of Uberto Eco. Far from university classrooms, academic conferences, and award ceremonies, Eco writes these texts over the course of three decades, to entertain the many spectators of La Milanesiana, a literary festival created and directed by Elisabetta Sgarbi.
They are texts that were often inspired by the central theme chosen each year in La Milanesiana festival, but in it, he also delves into many other various themes like: philosophy, literature, aesthetics, ethics, and the media, to offer his readers, through a gregarious language, filled with irony and sarcasm, the quintessence of the Eco universe.
“To fit ten centuries into a single phrase, that is the Eco method. On the Shoulders of Giants is one of the most brilliant and grandiose collection of writings that a university course could ever offer.” - Paolo di Paolo, La Repubblica
Umberto Eco, 84, Best-Selling Academic Who Navigated Two Worlds, Dies
Umberto Eco in Bologna, Italy, last year. As a semiotician, Mr. Eco studied signs and symbols.Credit...Roberto Serra/Iguana Press, via Getty Images
By Jonathan Kandell
As a semiotician, Mr. Eco sought to interpret cultures through their signs and symbols — words, religious icons, banners, clothing, musical scores, even cartoons — and published more than 20 nonfiction books on these subjects while teaching at the University of Bologna, Europe’s oldest university.
“No cultural artifact is too lowly or trivial for Eco’s analysis,” Ian Thomson, a literary biographer, wrote in The Guardian in 1999 in a review of “Serendipities: Language and Lunacy,” Mr. Eco’s collection of essays on how false beliefs had changed history.
As a global superstar in both highbrow and popular cultural circles, Mr. Eco accepted such criticism with equanimity. “I’m not a fundamentalist, saying there’s no difference between Homer and Walt Disney,” he told a Guardian journalist who was exploring his juxtaposition of scholarship and pop iconography in 2002. “But Mickey Mouse can be perfect in the sense that a Japanese haiku is.”
While he continued to make his scholarly peers uncomfortable with his pop culture celebrity, Mr. Eco saw no contradiction in his dual status. “I think of myself as a serious professor who, during the weekend, writes novels,” he said.
Bologna.
He and his German-born wife, Renate Ramge, an architecture and arts teacher, kept apartments in Paris and Milan and a 17th-century manor once owned by the Jesuits in the hills near Rimini, on the Adriatic Sea.
1956 doctoral thesis at the University of Turin on St. Thomas Aquinas.
Umberto Eco, 米蘭報告 書 博士論文有英文版關於聖托馬斯·阿奎那(St. Thomas Aquinas) 的美學。the Italian semiotician and globally successful novelist【協作】OK，為艾可的死乾杯吧！《巴黎評論》採訪安伯托·艾柯
「二戰」結束後，艾柯加入了一個天主教青年組織，後來成了它的全國領導人。1954年，在抗議教皇庇護十二世(Pope Pius XII)的活動中，艾柯退出了這個組織。但他在都靈大學(University of Turin)撰寫關於聖托馬斯·阿奎那(St. Thomas Aquinas)的博士論文期間，仍然對這個教會懷有強烈好感。
但是為艾柯帶來國際聲譽的，還要算是《玫瑰之名》的出版。書中的教士兼偵探，「巴斯克維爾的威廉」(William of Baskerville)是以福爾摩斯探案中的《巴斯克維爾的獵犬》(The Hound of the Baskervilles)命名的。一個年輕學徒陪伴威廉來到這座籠罩着謀殺陰影的修道院，充當中世紀的華生醫生角色，小說也由他來敘述。
艾柯的首部小說《玫瑰之名》售出逾1000萬冊。 Harvest Books
書中還有另一個文學指涉，即阿根廷的失明作家豪爾赫·路易斯·博爾赫斯(Jorge Luis Borges)，他曾把自己的一個短篇小說背景設在包羅萬有的圖書館，艾柯給書中的反派命名為豪爾赫·德·布爾霍斯，他的同夥們執行了謀殺，目的是防止遺失的亞里士多德巨著泄露於世，書中歌頌了幽默的地位。兇手們認為，這本書是撒旦的工具。
Umberto Eco: Exploring Imaginary Lands With One of Italy’s Masters of Fiction
Giovanna Silva
The author Umberto Eco at his home in Milan. He has collected more than 50,000 books.
By STEPHEN HEYMAN
Published: November 27, 2013
Umberto Eco, 81, the Italian semiotician and globally successful novelist, is an insatiable bibliophile. He has collected more than 50,000 books, and has a particular passion for volumes on imaginary, occult or even bogus subjects.
“I am interested in fakes, in falsity,” he said in an interview. “I don’t have Galileo, but I have Ptolemy, because he was wrong.”
Rifling through his library, Mr. Eco assembled “The Book of Legendary Lands” (Rizzoli ex Libris, $45), an illustrated survey of mythic places — Atlantis, El Dorado, Camelot — and the real imprint they’ve left on history.
The book is the latest of Mr. Eco’s brainy coffee table volumes; earlier ones have collected art and ideas about beauty, ugliness and “the infinity of lists.” Reached by telephone at his country house near Rimini, Mr. Eco spoke about his latest “erudite divertissement” and the decline of Italian culture (but not its crime fiction). Here is an edited excerpt of the conversation.
Q. Your new book begins with a falsehood that has endured to the present: That people in the Middle Ages thought the earth was flat.
A. Yes, and even cultivated people still repeat it to this day. The official culture in the Middle Ages was absolutely convinced that the earth was spherical and they accepted the Greek idea of the measure of the equator. It’s just intellectual and cultural laziness. We are also continuously told that during the Middle Ages they burned witches, when the real burning of witches started in the Renaissance.
Q. What are you at work on now?
A. I am in turmoil over a very complex story. In the States, they publish an enormous collection of books called “The Library of Living Philosophers.” It started with John Dewey and Bertrand Russell and the last book was about Richard Rorty. For mysterious reasons — probably because there is nobody else is around — they chose me for the next one. These are books of 1,500 pages. I am supposed to write 100 pages of philosophical autobiography. And there are 25 people, working at this moment, each writing a paper on my philosophical activity. And I am supposed to read all of them and to respond to each of them with at least three or four pages each. I think I have two years to work on it, and I am hoping to die before I have to do it.
Q. Are you skeptical about all the reports about the decline of Italian culture?
A. What decline? There is me! [Laughs] I think that nobody is able to evaluate the period in which he or she lives. I think when Joyce was publishing his first book there were a lot of people in Ireland saying Irish culture is in complete decline. The one who will be considered the greatest writer of the 21st century is in this moment alive but we don’t recognize him.
Q. You’ve said that the detective novel is a barometer of narrative production in any country. By that metric, where does Italy rank?
A. Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels. It is absolutely true that until recently there was nothing in Italian similar to Agatha Christie or Ian Fleming, not to speak of Sherlock Holmes. But there is something new. As in the Swedish culture, where there was an enormous birth of crime stories, in Italy for the past 20 years, there’s been a great production of good-quality detective stories. It’s a miracle — suddenly the Italian culture discovered the art of the plot.
Q. What changed?
A. We had in the last 50 years many mysteries in our country that probably excited the imagination young writers. Political and criminal mysteries, certain unexplained links between 1970s terrorism and political groups. There’s the case of Emanuela Orlandi, a girl living in the Vatican in a family of officials of the Vatican state, who disappeared 30 years ago. We still do not know if she is alive and why she was kidnapped. The history of Italy is full of stories like that.
Q. You often talk about wanting your books to outlive you. Why are you so preoccupied with the survival of your work?
A. Every writer, every artist, every musician, scientist is profoundly interested in the survival of his or her work after their death. Otherwise they would be idiots. Do you believe that Raphael was not interested in what happened to his paintings after his death? It’s another side of the normal human desire to survive personally in some way, and that is the root of every religion. That is essential if you work on something creative to have this hope. Otherwise you are only a person doing something to make money, to have women and Champagne. You don’t love your work if you don’t hope so.
艾柯的寓所內佈滿了迷宮似的迴廊，迴廊上排放著高及屋頂的書架。據艾柯所言，這里共有三萬卷書，而在他的莊園裡還有另外兩萬卷。在這些書中，我看見有托勒密的科學論著、卡爾維諾的小說、關於索緒爾與喬伊斯的評論研究以及幾書架中世紀歷史書籍與神秘晦澀的手稿。艾柯的圖書館充滿生機，許多書因經常翻閱已經陳舊磨損。他閱讀速度飛快，記憶力驚人。在他的書房裡錯落放置著一些書架，上面擺放著他自己作品的全部譯本（阿拉伯語、芬蘭語、日語……在數了三十多種語言之後，我已然無法計數了）。艾柯飽含深情地向我一一指出他的作品，將我的注意力吸引到他一卷又一卷的著作上：從他早期的批評理論里程碑著作《開放的作品》（The Open Work ）到他的新著《醜的歷史》（On Ugliness ）。
最初，艾柯以中世紀研究和符號學學者的身份開始了他的事業。接著，他在48 歲時（1980 年）出版了小說《玫瑰之名》（The Name of the Rose ）。小說銷量逾一千萬冊，在世界出版界內引起了轟動。這位大學教授搖身一變成為了文學界的明星。記者們蜂擁而至，詢問他對文化的看法，敬服於他的博學，一時間，他被視為仍在世的最重要的意大利作家。自那以後的數年間，他陸續寫作了主題奇特的隨筆、學術論文和四部更為暢銷的小說，包括1988 年的《傅科擺》（Foucault ' s Pendulum）和2004 年的《羅安娜女王的神秘火焰》（The Mysterious Flame of Queen Loana ）。
艾柯：這種立場我們稱之為解構主義。解構主義者們不僅假設所有的事物都是文本——甚至這張桌子也是文本——而且認為人們對每種文本都能加以無限的解釋，但是他們仍舊遵循著尼采開創的理念，尼采認為沒有事實，只有闡釋。相反，我繼承了查爾斯·桑德斯·皮爾士的思想，毫無疑問，他是美國最偉大的哲學家，也是符號學與闡釋學之父。他說過通過符號，我們可以闡釋事實。如果沒有事實而只餘闡釋，那還有什麼可闡釋的呢？這就是我在《闡釋的界限》（The Limits of Interpretation）一文中所論述的。
艾柯：我並不認為為了參與政治，一個知識分子必須加入某個政黨，或做更糟的事——只寫有關當代社會問題的作品。知識分子的政治參與度應與其他任何公民一樣。一名知識分子至多只能運用他的名望來支持某一事業。例如，如果有一份關於環境問題的聲明，那我的簽名可能對其有所幫助。所以我會用我的名望來支持公共契約的單一實例。問題是，知識分子只有在與未來相關的事情在上才能真正派上用場，而非解決當務之急。假設你身處一處著火的劇院，詩人肯定不應該爬上座椅來朗誦一篇詩篇，他應該和其他所有人一樣給消防員打電話。知識分子的作用在於事先告誡：“留意這個劇院因為它年久失修！”所以他的話語有著呼籲的預言功效。知識分子的作用在於告訴人們“我們應該那樣做”而非“我們必須現在行動！”——這是政治家的工作。如果托馬斯·摩爾（Thomas More ）烏托邦能夠成為現實，我敢肯定那會是一個斯大林主義的社會。
6 . 晚郵報（Corriere Della Sera ）是在米蘭出版的意大利日報，是意大利最著名的全國性日報，也是最早成立的日報之一。20 世紀的10 和20 年代，在路易吉·阿爾貝蒂尼的管理下，晚郵報成為了意大利閱讀範圍最廣的報紙，獲得了今日的重要性和影響力。它的主要競爭者有都靈新聞報和羅馬共和報。
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