Umberto Eco

Umberto Eco (born 5 January 1932) is an Italian medievalist, semiotician, philosopher, literary critic and novelist, best known for his novel The Name of the Rose (Il nome della rosa, 1980), an intellectual mystery combining semiotics in fiction, biblical analysis, medieval studies and literary theory. His 1988 novel Foucault's Pendulum has been described as a "thinking person's Da Vinci Code"

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A dream is a scripture, and many scriptures are nothing but dreams.
Books are not made to be believed, but to be subjected to inquiry.
Fear prophets and those prepared to die for the truth, for as a rule they make many others die with them, often before them, at times instead of them.
I felt like poisoning a monk.
I have come to believe that the whole world is an enigma, a harmless enigma that is made terrible by our own mad attempt to interpret it as though it had an underlying truth.
I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
Nothing gives a fearful man more courage than another's fear.
Perhaps the mission of those who love mankind is to make people laugh at the truth, to make truth laugh, because the only truth lies in learning to free ourselves from insane passion for the truth.
The comic is the perception of the opposite; humor is the feeling of it.
The good of a book lies in its being read. A book is made up of signs that speak of other signs, which in their turn speak of things. Without an eye to read them, a book contains signs that produce no concepts; therefore it is dumb.
The ideology of this America wants to establish reassurance through Imitation. But profit defeats ideology, because the consumers want to be thrilled not only by the guarantee of the Good but also by the shudder of the Bad.
The postmodern reply to the modern consists of recognizing that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited: but with irony, not innocently. I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, I love you madly, because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say, As Barbara Cartland would put it, I love you madly.
The real hero is always a hero by mistake he dreams of being an honest coward like everybody else.
There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy; a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.
There is only one thing that arouses animals more than pleasure, and that is pain. Under torture you are as if under the dominion of those grasses that produce visions. Everything you have heard told, everything you have read returns to your mind, as if you were being transported, not toward heaven, but toward hell. Under torture you say not only what the inquisitor wants, but also what you imagine might please him, because a bond (this, truly, diabolical) is established between you and him.

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