Umberto Eco -- Stephen Jay Gould -- Jean-Claude Carrière -- Jean Delumeau.

La crisi dello strutturalismo e i confini della semiotica in un volume importante della produzione di Eco. Un libro che trova la sua continuazione ideale in 'Lector in fabula'.

The world’s press may have lost interest in the ongoing enquiry into the deep‐rooted corruption in Italian business. But what exactly was going on, and what can be done to improve matters? The writers of this authoritative study are Faculty members of the prestigious Italian Business School, SDA Bocconi, Via F. Bocconi 8, 8‐20136 Milano, where Umberto Lago lectures in Strategy and Roberto Castoldi in Accounting. They both lecture on the Business Policy course at Bocconi University.

An erudite and witty collection of Umberto Eco's essays on mass culture from the 1960s through the 1980s, including major pieces which have not been translated into English before. The discussion is framed by opposing characterizations of current intellectuals as apocalyptic and opposed to all mass culture, or as integrated intellectuals, so much a part of mass culture as to be unaware of serving it. Organized in four main parts, "Mass Culture: Apocalypse Postponed," "Mass Media and the Limits of (...) Communication," "The Rise and Fall of Counter-Cultures," and "In Search of Italian Genius," Eco looks at a variety of topics and cultural productions, including the world of Charlie Brown, distinctions between highbrow and lowbrow, the future of literacy, Chinese comic strips, whether countercultures exist, Fellini's Ginger and Fred, and the Italian genius industry. (shrink)

Il volume si presenta come un manuale di riferimento sul pensiero di Umberto Galimberti, una miscellanea di studi cui ha contribuito un alto numero di studiosi di diverse discipline. Questo libro indaga il lungo arco del lavoro galimbertiano: dal pensiero simbolico, dalla fenomenologia alla psichiatria, fino ad approdare alla riflessione sull'età della tecnica e alla consulenza filosofica.

"Eco wittily and enchantingly develops themes often touched on in his previous works, but he delves deeper into their complex nature... this collection can be read with pleasure by those unversed in semiotic theory." —Times Literary Supplement.

This paper discusses an earlier emendation to fr. 54 GRF Funaioli from Varro's De bibliothecis and argues that, while the text et citro refers to cedar oil, it should not be emended to et cedro. A comparison with a passage from Pliny the Elder (HN 13.86) is used to support the view presented in the article.

Essays discuss poetry, communication, television, form, aesthetics, bad taste, and art.

Why are we deeply moved by the misfortune of Anna Karenina if we are fully aware that she is simply a fictional character who does not exist in our world?But what does it mean that fictional characters do not exist? The present article is concerned with the ontology of fictional characters. The author concludes thatsuccessful fictional characters become paramount examples of the ‘real’ human condition because they live in an incomplete world what we have cognitive access to but cannot influence (...) in any way and where no deeds can be undone. Unlike all the other semiotic objects, which are culturally subject to revisions, and perhaps only similar to mathematical entities, the fictual characters will never change and will remain the actors of what they did once and forever. (shrink)

We look at extensions (i.e., stronger logics in the same language) of the Belnap–Dunn four-valued logic. We prove the existence of a countable chain of logics that extend the Belnap–Dunn and do not coincide with any of the known extensions (Kleene’s logics, Priest’s logic of paradox). We characterise the reduced algebraic models of these new logics and prove a completeness result for the first and last element of the chain stating that both logics are determined by a single finite logical (...) matrix. We show that the last logic of the chain is not finitely axiomatisable. (shrink)

In a companion volume to his "History of Beauty," the renowned philosopher and cultural critic analyzes our attraction to the gruesome, horrific, and repellant in visual culture and the arts, drawing on abundant examples of painting and sculpture, ranging from antiquity to the works of Bosch, Goya, and others.