Search Results

Advanced Search

1 to 15 of 40 results

Sort by:

Filter by:


Article Types




Luciano Berio

8 December 1994
... To Umberto Eco for his 60th birthday run! Umberto riverrun: dagli apografi intercatattici alle filles goleuses: dai differipetizomi delle lettrici castrottiche e fabulose che godono solitarie della struttura indotta allo specchio spietato dell’onda che va e dell’Adso che viene nella catatistrofica maison de champipagne de mon oncle Thom ...


Jonathan Coe

5 October 1995
The Island of the Day Before 
by Umberto Eco.
Secker, 513 pp., £16.99, October 1995, 0 436 20270 0
Show More
Show More
... Umberto Eco began formulating his theories of the ‘open’ and the ‘closed’ text in the late Fifties, and then more than twenty years later, with the publication of The Name of the Rose, he appeared to achieve the impossible, by proving that these two seemingly incompatible forms could in fact be reconciled ...
6 October 1983
The Name of the Rose 
by Umberto Eco, translated by William Weaver.
Secker, 502 pp., £8.95, October 1983, 0 436 14089 6
Show More
Show More
... Semiotics is a fashionable subject, but semioticians do not normally become international best-sellers, which is the fate that, in apparent violation of this familiar cultural assumption, has befallen the Professor of Semiotics at Bologna, Umberto Eco. Academic novelists aren’t rare, of course, but it’s hard to think of one who regards fiction as not only entertainment but material for the practice of a professional discipline ...


Nicholas Penny

4 September 1986
Faith in Fakes 
by Umberto Eco, translated by William Weaver.
Secker, 307 pp., £15, August 1986, 0 436 14088 8
Show More
Art and Beauty in the Middle Ages 
by Umberto Eco, translated by Hugh Bredin.
Yale, 131 pp., £6.95, September 1986, 0 300 03676 0
Show More
Show More
... literary critic’. His subjects are novelties, many of which are now nearly forgotten. I cannot recommend anyone to reread McLuhan in order to appreciate Eco’s reservations about his theories, eminently judicious though these reservations are when compared with the enthusiasm of George Steiner or Raymond Williams. The ...
26 October 1989
Foucault’s Pendulum 
by Umberto Eco, translated by William Weaver.
Secker, 641 pp., £14.95, October 1989, 0 436 14096 9
Show More
The Open Work 
by Umberto Eco, translated by Anna Cancogni.
Radius, 285 pp., £9.95, October 1989, 0 09 175896 3
Show More
Show More
... And since outside it, all the more able to participate in it with readerly and writerly zest. Umberto Eco seems to be having it both ways, as he did in The Name of the Rose, offering mystery, quest and romance, while retaining, for himself, and for us, the privilege of the higher frivolity. It is in a sense an old trick, which his fellow-countryman ...
8 February 1990
The Vanished Library: A Wonder of the Ancient World 
by Luciano Canfora, translated by Martin Ryle.
Radius, 205 pp., £14.95, November 1989, 0 09 174049 5
Show More
by John Gould.
Weidenfeld, 164 pp., £14.95, October 1989, 9780297793397
Show More
Show More
... were crumpling in the fury of the fire.’ So, in the final pages of The Name of the Rose, Umberto Eco destroys ‘the greatest library in Christendom’, hidden away in the impenetrable labyrinth of his macabre abbey. The reader cannot help but feel some satisfaction at this apparent disaster. For the maze of the abbey’s library and its ...

Catching the Prester John Bug

John Mullan: Umberto Eco

8 May 2003
by Umberto Eco, translated by William Weaver.
Secker, 522 pp., £18, October 2002, 0 436 27603 8
Show More
Show More
... skirts of the fabled land of Prester John, late in the 12th century, Baudolino, the protagonist of Umberto Eco’s latest novel, encounters a pygmy. He discovers that ‘the greeting to exchange with him was Lumus kelmin pesso desmar lon emposo, which means that you pledged not to make war against him and his people.’ Baudolino’s quickness with ...


Michael Wood

23 March 1995
The Stone Raft 
by José Saramago, translated by Giovanni Pontiero.
Harvill, 263 pp., £15.99, November 1994, 0 00 271321 7
Show More
Show More
... that the art which conceals art is the next best thing to having no art at all. On my left, Umberto Eco; on my right ... there are too many contenders, I can’t make out any individual faces in the crowd. I’m not suggesting there are no British Europeans, or that all Continental Europeans write Euro-novels; or that there aren’t solid and ...

Not a Pretty Sight

Jenny Diski: Who Are You Calling Ugly?

24 January 2008
On Ugliness 
edited by Umberto Eco.
Harvill Secker, 455 pp., £30, October 2007, 978 1 84655 122 2
Show More
Show More
... sisters. Beauty, the Beast. Dorian, his portrait. So it’s not surprising, having commissioned Umberto Eco to write an essay and compile a book of pictures and quotations called On Beauty in 2004, that by 2007 the publishers thought it was time for On Ugliness. (Don’t tell me that publishing isn’t as easy as falling off a log.) ...

Short Cuts

Thomas Jones: Something Like a Dream of Meaning

4 June 2014
... the novel, published in Italian in 2007 and in an English translation this year (Verso, £14.99), Umberto Eco resorts to argumentum ab auctoritate: ‘Programmers say’. The new edition, in some senses a first edition, or a whole series of first editions, has been made possible by advances – or at any rate changes – in technology. The rise of ...

Short Cuts

John Sturrock: Don't Bother to Read

22 March 2007
... lasting peace of mind to the scrupulous souls who grow anxious whenever the book-talk around them becomes too specific, and either say nothing or else say too much, only to feel bad later on at having faked first-hand acquaintance with authors or titles they know they’ve either never read or totally forgotten. Bayard’s title, you’ll have noticed, ends ...
7 February 1980
The Role of the Reader 
by Umberto Eco.
Indiana, 384 pp., £10.50, September 1980, 0 253 11139 0
Show More
The Semiotics of the Built Environment 
by Donald Preziosi.
Indiana, 192 pp., £9, September 1980, 0 253 17638 7
Show More
Show More
... a reaction against critical moralism, expressed with a hesitancy so great that only massive recourse to technicality can prevent it from knowledge of its impotence? Or is it the first step towards some new critical method, a method sufficiently general as to assign an interpretation to everything that could be regarded as a ‘sign’? Those questions ...

Cookson County

Rosalind Mitchison

27 June 1991
The Hanging Tree 
by Allan Massie.
Heinemann, 346 pp., £13.99, November 1990, 0 434 45301 3
Show More
Tiberius: The Memoirs of the Emperor 
by Allan Massie.
Hodder, 256 pp., £13.95, January 1991, 0 340 48788 7
Show More
The Gillyflors 
by Catherine Cookson.
Bantam, 366 pp., £13.99, October 1990, 0 593 01726 9
Show More
Show More
... of work there are likely to be mistakes in detail, more seriously in issues and atmosphere. Even Umberto Eco with all his learning has slipped on a Papal number in The Name of the Rose, or else his printer has done it for him. Authors may avoid slips in events and yet present us with personalities and relationships that are not believable. Allan Massie ...


George Steiner

23 May 1996
The Modern Epic: The World System from Goethe to García Márquez 
by Franco Moretti, translated by Quentin Hoare.
Verso, 250 pp., £44, March 1996, 1 85984 934 2
Show More
Show More
... A theory becomes ‘classical’ when it is thought to have been understood, which is to say left behind or constructively challenged. Where a theory is forceful enough, there is, inevitably, a sense in which it consumes its object and, thus, itself. These are Hegelian concepts and they bear directly on the theory of the evolution of literary forms which Lukács derived critically from Hegel ...

No Strings

Bee Wilson: Pinocchio

1 January 2009
by Carlo Collodi, translated by Geoffrey Brock.
NYRB, 189 pp., £8.99, November 2008, 978 1 59017 289 6
Show More
Show More
... wilful, greedy and occasionally vindictive brat. For much of the book, he is less concerned with becoming a real live boy than with satisfying his most immediate appetites. Coming to Collodi more than a hundred years later, and reading it as a revision of Disney rather than the model for it, we’re inclined to see it as a work of subversion. In the film, the ...

Read anywhere with the London Review of Books app, available now from the App Store for Apple devices, Google Play for Android devices and Amazon for your Kindle Fire.

Read More

Sign up to our newsletter

For highlights from the latest issue, our archive and the blog, as well as news, events and exclusive promotions.

Newsletter Preferences