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A collection of essays from Italian novelist Umberto Eco on a wide range of topics.
This essay collection by the revered public intellectual displays his “profound erudition, lively wit, and passion for ideas of all shapes and sizes” (Booklist). In these fourteen essays, Umberto Eco examines many of the ideas that have inspired his provocative and illuminating fiction. From the title essay—a disquisition of the notion that every country needs an enemy—he takes readers on an exploration of lost islands, mythical realms, and the medieval world. His topics range from indignant reviews of James Joyce’s Ulysses by fascist journalists, to an examination of Saint Thomas Aquinas’s notions about the soul of an unborn child, to censorship, violence and WikiLeaks. Here are essays full of passion, curiosity, and probing intellect by one of the world’s most esteemed scholars and critically acclaimed, best-selling novelists. “True wit and wisdom coexist with fierce scholarship inside Umberto Eco, a writer who actually knows a thing or two about being truly human.” — Buffalo News
In this prescient essay collection, the acclaimed author of Foucault’s Pendulum examines the cultural trends and perils at the dawn of the 21st century. In the last decade of the 20th century, Umberto Eco saw an urgent need to embrace tolerance and multiculturalism in the face of our world’s ever-increasing interconnectivity. At a talk delivered during the first Gulf War, he points out the absurdity of armed conflict in a globalized economy where the flow of information is unstoppable and the enemy is always behind the lines. Elsewhere, he questions the influence of the news media and identifies its contribution to our collective disillusionment with politics. In a deeply personal essay, Eco recalls his boyhood experience of Italy’s liberation from fascism. He then analyzes the universal elements of fascism, including the “cult of tradition” and a “suspicion of intellectual life.” And finally, in an open letter to an Italian cardinal, Eco reflects on a question underlying all the reflections in the book: What does it mean to be moral or ethical when one doesn't believe in God? “At just 111 pages, Five Moral Pieces packs a philosophical wallop surprising in such a slender book. Or maybe not so surprising. Eco's prose here is beautiful.”—January Magazine
A posthumous collection of essays by the great novelist, essayist, literary critic, and philosopher Umberto Eco
Reflections on how the idea of catalogs has changed over the centuries and how, from one period to another, it has expressed the spirit of the times. Companion to the author's History of beauty and On ugliness.
How do we know a cat is a cat . . . and why do we call it a cat? An “intriguing and often fascinating” look at words, perceptions, and the relationship between them (Newark Star-Ledger). In Kant and the Platypus, the renowned semiotician, philosopher, and bestselling author of The Name of the Rose and Foucault’s Pendulum explores the question of how much of our perception of things is based on cognitive ability, and how much on linguistic resources. In six remarkable essays, Umberto Eco explores in depth questions of reality, perception, and experience. Basing his ideas on common sense, Eco shares a vast wealth of literary and historical knowledge, touching on issues that affect us every day. At once philosophical and amusing, Kant and the Platypus is a tour of the world of our senses, told by a master of knowing what is real and what is not. “An erudite, detailed inquirity into the philosophy of mind . . . Here, Eco is continental philosopher, semiotician, and cognitive scientist rolled all into one.” —Library Journal (starred review)
This book is significant for its concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
Claude has an intuitive faith in something splendid and feels at odds with his contemporaries. The war offers him the opportunity to forget his farm and his marriage of compromise; he enlists and discovers that he has lacked. But while war demands altruism, its essence is destructive
This book is an appreciation of selected authors who make extensive use of humor in English detective/crime fiction. Works using humor as an amelioration of the serious have their heyday in the Golden Age of crime writing but they belong also to a long tradition. There is an identifiable lineage of humorous writing in crime fiction that ranges from mild wit to outright farce, burlesque, even slapstick. A mix of entertainment with instruction is a tradition in English letters. English crime fiction writers of the era circa 1913 to 1940 were raised in the mainstream literary tradition but turned their skills to detective fiction. And they are the humorists of the genre. This book is not an exhaustive study but an introduction into the best produced by the most capable and enjoyable authors. What the humorists seek is to surprise the reader by overturning their expectations using a repertoire of stylistic conceits and motifs (recurring incidents, devices, references). Humor has a liberating effect but is concerned too with "comic contrast" through ugliness and caricature. In crime fiction one effect is intellectual pleasure at solving (or attempting to solve) a puzzle. Another is entertainment but with serious undertones.