New Essays on Umberto Eco
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There is a wealth of critical commentary on Umberto Eco in scholarly books and articles; this collection provides thought-provoking insights into topics that have attracted a great deal of attention in the past without repeating many of the arguments found in earlier publications on Eco. Representing the most active scholars writing on Eco from a variety of disciplinary perspectives, the international panel of authors provides sophisticated engagement with Eco's contributions to a wide range of academic disciplines (semiotics, popular culture, linguistics, aesthetics, philosophy, medieval studies) as well as his literary production of five important novels. From the impact of the detective genre on Eco's literary work to his place as a major medievalist, New Essays on Umberto Eco covers a variety of subjects of interest not only to a wide audience interested in Eco's fiction, but also to the serious student delving into Eco's more esoteric writings.
and â•−Saying Almost the Same Thing: Experiences in Translation8 – Eco demonstrates how negotiation is of utmost relevance even in the act of translation. Translation may entail moving from one language to another (what Eco calls “translation proper”); or it may involve what he calls “intersemiotic translation,” such as the adaptation of a novel by a film, a musical score that becomes a dance, and so forth. Eco prefers to term the second type of translation “transmutations” or “adaptations” to
destination text, the cultural milieu in which it is expected to be read, and even the publishing industry, which can recommend different translation criteria, according to whether the translated text is to be put in an academic context or in a popular one (Umberto Eco, Saying Almost the Same Thing: Experiences in Translation. Milan: Bompiani, 2003, p. 18).9 In every process of translation, one negotiates losses of meaning, one violates and adjusts the various semantic implications, and so on.
Joscelyn Godwin’s The Real Rule of Four (New York: The Disinformation Company, 2004). 16 The parallel is not gratuitous, as Eco, in the dreamlike quality of his Â�apparition, uses Dante’s same simile, even though for Eco the vision appears while for Dante it disperses. See Paradiso, Canto xxxiii, 64–7 for Dante’s verse. 17 Eco cites this same Latin phrase in The Name of the Rose, p. 388. 18 “…we rushed into the embraces of the cataract, where a chasm threw itself open to receive us. But there
everyone has his own idea, usually corrupt, of the Middle Ages” (Eco, â•−The Name of the Rose, p. 535). Eco’s statement also applies to ideas of the Middle Ages in The Name of the Rose and Baudolino. Over the two decades that separate the publication of these novels, what persists and what has changed in Eco’s version of the Middle Ages? It should be possible to explore Â�common ground between historical study of the period and its fictional Â�incarnations in Eco’s various novels. Us e s of t h e
which…contemporary culture views reality. The closed, single conception in a world by a medieval artist reflected the conception of the cosmos as a hierarchy of fixed, pre-ordained orders. The work as a pedagogical vehicle, as a monocentric and necessary apparatus (incorporating a rigid internal pattern of meter and rhymes) simply reflects the syllogistic system, a logic of necessity, a deductive consciousness by means of which reality could be made manifest step by step without unforeseen