What happens when we read a text like The Name of the Rose? How may we understand what is fictional and what is true in it? By working on Eco’s Confessions of a Young Novelist, we will try to investigate the phenomenology of reading together with immersivity and our emotional involvement with fiction.
{"title":"Some Remarks on Eco’s Confession and His Mystical Raptus","authors":"C. Barbero","doi":"10.4000/ESTETICA.7708","DOIUrl":"https://doi.org/10.4000/ESTETICA.7708","url":null,"abstract":"What happens when we read a text like The Name of the Rose? How may we understand what is fictional and what is true in it? By working on Eco’s Confessions of a Young Novelist, we will try to investigate the phenomenology of reading together with immersivity and our emotional involvement with fiction.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43705279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Laughing with the Dead «Only one boy was capable of laughing while Derossi was declaiming the funeral oration of the king, and Franti laughed.» We must be aware of this: our remembrance of Umberto Eco risks bringing back Franti, who laughed at the funeral of another Umberto, killed in Monza by Gaetano Bresci. Of course, it’s not exactly the same thing, because Franti was laughing at the dead man, or at least at the obsequies, and maybe at Derossi and his way of expressing them, while we are t...
{"title":"Alive as You and Me","authors":"M. Ferraris","doi":"10.4000/ESTETICA.7684","DOIUrl":"https://doi.org/10.4000/ESTETICA.7684","url":null,"abstract":"Laughing with the Dead «Only one boy was capable of laughing while Derossi was declaiming the funeral oration of the king, and Franti laughed.» We must be aware of this: our remembrance of Umberto Eco risks bringing back Franti, who laughed at the funeral of another Umberto, killed in Monza by Gaetano Bresci. Of course, it’s not exactly the same thing, because Franti was laughing at the dead man, or at least at the obsequies, and maybe at Derossi and his way of expressing them, while we are t...","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"75-81"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42078605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this contribution concerns the evolution of Eco’s thought on the problem of the false, from the first writings (in which the sign is just what can be used to lie) to the reflections of the late 1980s on the strength of the false, in a more culturological perspective. The essay will therefore trace an evolution that establishes in Eco’s theory a continuity between reflection on falsehood, reflection on falsification and the theory of fiction, while in a second time it will retrace all of Eco’s narrative going to highlight how all novels have to do with the false, or at least with the non-verifiability of the true. From this point of view, it will be argued that novels are the best place for Eco to affirm the strength of the false, for the nomothetic power of fictions.
{"title":"Power, Dangers and Resources of Forgery, from Theory to Novels","authors":"A. Lorusso","doi":"10.4000/ESTETICA.7690","DOIUrl":"https://doi.org/10.4000/ESTETICA.7690","url":null,"abstract":"The subject of this contribution concerns the evolution of Eco’s thought on the problem of the false, from the first writings (in which the sign is just what can be used to lie) to the reflections of the late 1980s on the strength of the false, in a more culturological perspective. The essay will therefore trace an evolution that establishes in Eco’s theory a continuity between reflection on falsehood, reflection on falsification and the theory of fiction, while in a second time it will retrace all of Eco’s narrative going to highlight how all novels have to do with the false, or at least with the non-verifiability of the true. From this point of view, it will be argued that novels are the best place for Eco to affirm the strength of the false, for the nomothetic power of fictions.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"61 1","pages":"95-112"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48707709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Umberto Eco’s semiotics, unlike that of most of his colleagues, has always claimed to be a philosophical research. For Eco, general semiotics, that is, the research on the functioning of signs, was a fundamental part of philosophy, because the knowledge of objects and the formulation of the ideas that characterize them takes place by means of signs. This paper shows how Eco’s semiotic work derives from his philosophical training and how interest in the mass media and political commitment have not changed the nature of his philosophical project. His research itinerary is compared with that of other semiotics scholars to show the originality of his approach.
{"title":"The Origins Of Umberto Eco’s Semio-Philosophical Project","authors":"Ugo Volli","doi":"10.4000/ESTETICA.7689","DOIUrl":"https://doi.org/10.4000/ESTETICA.7689","url":null,"abstract":"Umberto Eco’s semiotics, unlike that of most of his colleagues, has always claimed to be a philosophical research. For Eco, general semiotics, that is, the research on the functioning of signs, was a fundamental part of philosophy, because the knowledge of objects and the formulation of the ideas that characterize them takes place by means of signs. This paper shows how Eco’s semiotic work derives from his philosophical training and how interest in the mass media and political commitment have not changed the nature of his philosophical project. His research itinerary is compared with that of other semiotics scholars to show the originality of his approach.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"81-95"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41763755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a positive philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts.
{"title":"On Form and Structure: Umberto Eco and the Basis for a Positive Philosophy of the Arts","authors":"D. Sasso","doi":"10.4000/ESTETICA.7719","DOIUrl":"https://doi.org/10.4000/ESTETICA.7719","url":null,"abstract":"This essay has two aims. The first is to offer an explanation concerning the problem of form in Umberto Eco’s philosophical research, showing that he deals with it while admitting that form can be a temporary element connected to a system of relationships which may be subject to variability. Namely, his reflection is open to the issue of structure. The second aim is to identify some principles that, according to this theoretical approach, may be considered a basis for a positive philosophy of the arts whose adoption might also lead to the understanding of their most recent evolutions. Focusing above all on the work Eco carried out in the years preceding the elaboration of his semiotic theory, I will pursue the following two objectives. After introducing some aspects of Eco’s philosophical methodology, I will focus on the theme of form, considering it in meta-operative terms in light of Luigi Pareyson’s ‘theory of formativity’ and in relation to the issue of structure. In the final part of the essay, I will then show how this theoretical approach provides significant resources for a positive philosophy that can successfully address the evolution of the arts.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"76 1","pages":"180-204"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43936480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Dog Schema is the translation of the Italian text Lo schema del cane, originally published in Rivista di Estetica in 1998. The text presents the debate among the philosophers Umberto Eco, Maurizio Ferraris, and Diego Marconi concerning the dog schema. The debate develops through a reflection on Kantian schematism and conceptual applications, showing three different points of view on the subject.
狗的图式是意大利文本Lo Schema del cane的翻译，最初发表于1998年的Rivista di Estetica。文本呈现了哲学家翁贝托·艾柯、毛里齐奥·法拉利和迭戈·马可尼关于狗图式的辩论。辩论通过对康德模式主义和概念应用的反思而展开，展示了对该主题的三种不同观点。
{"title":"The Dog Schema","authors":"U. Eco, M. Ferraris, D. Marconi","doi":"10.4000/ESTETICA.7660","DOIUrl":"https://doi.org/10.4000/ESTETICA.7660","url":null,"abstract":"The Dog Schema is the translation of the Italian text Lo schema del cane, originally published in Rivista di Estetica in 1998. The text presents the debate among the philosophers Umberto Eco, Maurizio Ferraris, and Diego Marconi concerning the dog schema. The debate develops through a reflection on Kantian schematism and conceptual applications, showing three different points of view on the subject.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"10-39"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42928769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article might be interpreted as a theoretical journey in the realm of geographical investigation aimed at specifying the kinds of entities that such an investigation presupposes. Indeed, the purpose of these pages is to sketch what could be included in a geographical universal catalogue of all geographical entities there were, there are and (maybe) there will be. The starting point is Marcello Tanca’s thesis that geography presumes a hybrid ontology, grounded – at least – on three different joints of the geographical investigation: things, representations and practices. Speaking about geographical things, we discuss the famous distinction between bona fide and fiat boundaries, proposed by Barry Smith. When we apply such a dichotomy to the (corresponding) bounded entities, we see that the distinction shows some ambiguities, which could make us question the existence of proper bona fide entities. Then, the topic of geographical representation is taken by the horns. Firstly, we introduce the notion of cartographical entity, which subsumes everything that could be portrayed on maps. Secondly, we address the possibility of a cartographical catalogue, suitable for including all cartographical entities. Thirdly, we apply the first two steps to the notions of Geographic Information Systems (GIS) and geo-ontological entity. Finally, in the conclusion, we consider whether and how these (cartographical, GIS and geo-ontological) catalogues could enrich our geographical universal catalogue.
{"title":"Per un catalogo geografico universale. Ontologie ibride, rappresentazioni cartografiche e intersezioni geo-informatiche","authors":"T. Tambassi","doi":"10.4000/ESTETICA.7724","DOIUrl":"https://doi.org/10.4000/ESTETICA.7724","url":null,"abstract":"This article might be interpreted as a theoretical journey in the realm of geographical investigation aimed at specifying the kinds of entities that such an investigation presupposes. Indeed, the purpose of these pages is to sketch what could be included in a geographical universal catalogue of all geographical entities there were, there are and (maybe) there will be. The starting point is Marcello Tanca’s thesis that geography presumes a hybrid ontology, grounded – at least – on three different joints of the geographical investigation: things, representations and practices. Speaking about geographical things, we discuss the famous distinction between bona fide and fiat boundaries, proposed by Barry Smith. When we apply such a dichotomy to the (corresponding) bounded entities, we see that the distinction shows some ambiguities, which could make us question the existence of proper bona fide entities. Then, the topic of geographical representation is taken by the horns. Firstly, we introduce the notion of cartographical entity, which subsumes everything that could be portrayed on maps. Secondly, we address the possibility of a cartographical catalogue, suitable for including all cartographical entities. Thirdly, we apply the first two steps to the notions of Geographic Information Systems (GIS) and geo-ontological entity. Finally, in the conclusion, we consider whether and how these (cartographical, GIS and geo-ontological) catalogues could enrich our geographical universal catalogue.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"204-221"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48520856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Umberto Eco’s essential contribution to semiotics consisted in finding a theoretical equilibrium between deconstructive tendencies, aiming at presenting cultural habits as pure conventional but naturalized products, and motivational trends, claiming the natural fundament of constructed cultural habits. Fully comprehending and turning into analytical frame the concept of sign in Charles S. Peirce was instrumental to reach such equilibrium. In no other aspect of Umberto Eco’s semiotics it manifests itself with more evidence than in the characterization of indexes. The article seeks to propose a general theorization of their semiotic nature, starting from Umberto Eco’s interpretation of Peirce.
{"title":"Indexes: Cultural Nature and Natural Culture","authors":"M. Leone","doi":"10.4000/ESTETICA.7699","DOIUrl":"https://doi.org/10.4000/ESTETICA.7699","url":null,"abstract":"Umberto Eco’s essential contribution to semiotics consisted in finding a theoretical equilibrium between deconstructive tendencies, aiming at presenting cultural habits as pure conventional but naturalized products, and motivational trends, claiming the natural fundament of constructed cultural habits. Fully comprehending and turning into analytical frame the concept of sign in Charles S. Peirce was instrumental to reach such equilibrium. In no other aspect of Umberto Eco’s semiotics it manifests itself with more evidence than in the characterization of indexes. The article seeks to propose a general theorization of their semiotic nature, starting from Umberto Eco’s interpretation of Peirce.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42806274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article offers a critical reflection on the distance that separates us from an objectification of memory, its historiographical reconstructions and their different targets. At the basis of this enterprise, lies the belief that grasping the nuances and unveiling the ideological mechanisms of narrative reconstructions amounts to critically reflecting on the conditions that enable the narrative objectifications of the past filtered through by memory. To verify this theoretical assumption, the article elaborates on two key research tools that Umberto Eco has employed throughout his life and that permeated his overall work, i.e. the categories of use and interpretation, and applies them to the treatment of the Middle Ages as a historiographical object, to show how medievalism can be an interpretive tool that allows understanding the contemporary age and its hermeneutic and ideological distortions, its fears, its media representations.
{"title":"Dystopias and Historiographical Objects: The Strange Case of The Middle Ages","authors":"Riccardo Fedriga","doi":"10.4000/ESTETICA.7678","DOIUrl":"https://doi.org/10.4000/ESTETICA.7678","url":null,"abstract":"The article offers a critical reflection on the distance that separates us from an objectification of memory, its historiographical reconstructions and their different targets. At the basis of this enterprise, lies the belief that grasping the nuances and unveiling the ideological mechanisms of narrative reconstructions amounts to critically reflecting on the conditions that enable the narrative objectifications of the past filtered through by memory. To verify this theoretical assumption, the article elaborates on two key research tools that Umberto Eco has employed throughout his life and that permeated his overall work, i.e. the categories of use and interpretation, and applies them to the treatment of the Middle Ages as a historiographical object, to show how medievalism can be an interpretive tool that allows understanding the contemporary age and its hermeneutic and ideological distortions, its fears, its media representations.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"60-75"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47157249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although Eco was deeply interested in music, his bibliography does not include a work entirely and exclusively dedicated to this theme. However, references to the problems of musical production, listening, interpretation and transmission are scattered in numerous essays, and are often implicitly or explicitly linked to the theoretical and compositional work of his friend and composer Luciano Berio, who in turn dialogued with the developments of Eco’s thought. This article reconstructs the intellectual relationship and friendship between Eco and Berio, originated in the fifties at the Rai studios in Milan; then it examines the passages in Eco’s work dedicated to music, from The Open Work (1962) to Kant and the Platypus (1997). Finally, the article focuses on the controversies raised by the concept of open work, conceived by Eco starting from some musical works including Berio’s Sequenza I for solo flute (1958). With respect to the freedom left to the performer in the 1958 score, Berio’s rewriting in traditional notation in the Nineties seems to undermine at its roots the idea of openness which, according to Eco, distinguishes contemporary poetics. This circumstance provoked some musicological, philological and philosophical controversies, which allowed Eco (2012) to return to reflect on the concept of open work, specifying and clarifying the aesthetic conception underlying it.
{"title":"Eco and Berio between Music and Open Work","authors":"Stefano Oliva","doi":"10.4000/ESTETICA.7709","DOIUrl":"https://doi.org/10.4000/ESTETICA.7709","url":null,"abstract":"Although Eco was deeply interested in music, his bibliography does not include a work entirely and exclusively dedicated to this theme. However, references to the problems of musical production, listening, interpretation and transmission are scattered in numerous essays, and are often implicitly or explicitly linked to the theoretical and compositional work of his friend and composer Luciano Berio, who in turn dialogued with the developments of Eco’s thought. This article reconstructs the intellectual relationship and friendship between Eco and Berio, originated in the fifties at the Rai studios in Milan; then it examines the passages in Eco’s work dedicated to music, from The Open Work (1962) to Kant and the Platypus (1997). Finally, the article focuses on the controversies raised by the concept of open work, conceived by Eco starting from some musical works including Berio’s Sequenza I for solo flute (1958). With respect to the freedom left to the performer in the 1958 score, Berio’s rewriting in traditional notation in the Nineties seems to undermine at its roots the idea of openness which, according to Eco, distinguishes contemporary poetics. This circumstance provoked some musicological, philological and philosophical controversies, which allowed Eco (2012) to return to reflect on the concept of open work, specifying and clarifying the aesthetic conception underlying it.","PeriodicalId":53954,"journal":{"name":"Rivista di Estetica","volume":"1 1","pages":"146-161"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45167958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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