by Umberto Eco
8. Marcel Proust, “A ajouter à Flaubert,” in Contre Sainte-Beuve, ed. Pierre Clarac (Paris: Gallimard, 1971), p. 300.
3. LINGERING IN THE WOODS
1. Italo Calvino, Six Memos for the Next Millennium (Cambridge, Mass.: Harvard University Press, 1988), pp. 35, 46.
2. On inferential walks, see Umberto Eco, The Role of the Reader (Bloomington: Indiana University Press, 1979), pp. 31–33.
3. “Scenes We’d Like to See: The Musketeer Who Failed to Get the Girl,” in William M. Gaines, The Bedside “Mad” (New York: Signet, 1959), pp. 117–121.
4. Isabella Pezzini, “Le passioni del Lector,” in Patrizia Magli et al., eds., Semiotica: Storia, Teoria, Interpretazione—Saggi intomo a Umberto Eco (Milan: Bompiani, 1992), pp. 227–242.
5. Alessandro Manzoni,The Betrothed, trans.Bruce Penman (Harmondsworth: Penguin, 1972), p. 32.
6. See, for instance, works by Seymour Chatman, Gérard Genette, and Gerald Prince.
7. Mickey Spillane, One Lonely Night (New York: Dutton, 1950), p. 165.
8. Ian Fleming, Casino Royale (London: Glidrose, 1953), ch. 18.
9. Marcel Proust, “A Propos du style de Flaubert,” Nouvelle revue française, January 1, 1929, p. 950.
10. Gustave Flaubert, Sentimental Education, trans. Robert Baldick (Harmondsworth: Penguin, 1964), p. 411.
11. Alexandre Dumas (pere), The Three Musketeers, anonymous trans. (New York: Grosset and Dunlap, n.d.), pp. 105–107.
12. Dorothy Sayers, introduction to Dante, The Divine Comedy (Harmondsworth: Penguin, 1949–1962), p. 9.
13. Dante, Paradise, canto 33, verses 55–57, 85–90; trans. Barbara Reynolds, in the Sayers edition, vol. 3 (1962), pp. 344ff.
14. See Umberto Eco, “Narrative Structures in Fleming,” in The Role of the Reader, pp. 144–174.
15. Manzoni, The Betrothed, pp. 25–26.
4. POSSIBLE WOODS
1. John Searle, “The Logical Status of Fictional Discourse,” New Literary History 14 (1975).
2. Franz Kafka, “Metamorphosis” and Other Storks, trans. Willa Muir and Edwin Muir (London: Minerva, 1992), p. 9.
3. Edwin Abbott, Flatland: A Romance of Many Dimensions (New York: Dover, 1952; orig. pub. 1884).
4. Lubomir Doležel, “Possible Worlds and Literary Fiction,” in Sture Allen, ed., Possible Worlds in Humanities, Arts, and Sciences: Proceedings of Nobel Symposium 65 (Berlin: De Gruyter, 1989), p. 239.
5. On this point, I am indebted to all the participants at Session 3 of the above-mentioned Nobel Symposium 65, in particular Arthur Danto, Thomas Pavel, Ulf Linde, Gérard Regnier, and Samuel Levin. Other figures of this type can be found in Lionel S. Penrose and Roger Penrose, “Impossible Objects,” British Journal of Psychology 49 (1958).
6. Umberto Eco, “L’uso pratico del personaggio artistico,” in Apocalittici e integrati (Milan: Bompiani: 1964).
7. Hilary Putnam, Representation and Reality (Cambridge, Mass.: MIT Press, 1988), pp. 22ff.
8. Valentina Pisanty, Leggere la fiaba (Milan: Bompiani, 1993), pp. 97–99. The alchemical reading was provided by Giuseppe Sermonti, Le fiabe del sottosuolo (Milan: Rusconi, 1989).
5. THE STRANGE CASE OF THE RUE SERVANDONI
1. Lucrecia Escudero, “Malvine: Il Gran Racconto” (Diss.: Universita degli Studi di Bologna, Dottorato di Ricerca in Semiotica, 4 Ciclo, 1992).
2. Umberto Eco (in collaboration with Patrizia Violi), “Presuppositions,” in The Limits of Interpretation (Bloomington: Indiana University Press, 1990), pp. 253–260.
3. I have checked a map of Paris from 1609, on which some of the streets mentioned above do not appear or have different names. In a report entitled Estat, noms et nombre de toutes les rues de Paris en 1636, ed. Alfred Franklin (Paris: Leon Willem, 1873; Editions de Paris, 1988), the names given are already those that were used in 1716, according to a map from the latter year that I found. Considering that most maps follow aesthetic criteria and do not show the names of secondary streets, I think that my reconstruction reasonably approximates the situation of the streets in 1625.
4. Keith S. Donnellan, “Reference and Definite Descriptions,” Philosophical Review 75 (1966): 281–304.
5. Roger C. Schank (with Peter G. Childers), The Cognitive Computer (Reading, Mass.: Addison-Wesley, 1984), pp. 81–89.
6. Ibid., p. 83.
7. Ibid., p. 85.
8. Ibid., p. 86.
9. Umberto Eco, “Postscript” to The Name of the Rose, trans. William Weaver (New York: Harcourt Brace, 1984).
10. James Joyce, A Portrait of the Artist as a Young Man (New York: Viking, 1964), p. 214.
6. FICTIONAL PROTOCOLS
1. Umberto Eco, The Open Work (Cambridge, Mass.: Harvard University Press, 1989), p. 264, n. 13.
2. Umberto Eco, Foucault’s Pendulum, trans. William Weaver (New York: Harcourt Brace, 1988), p. 495.
3. Andrea Bonomi, “Lo spirito della narrazione” (1993, unpublished), ch. 4, quoted with the permission of the author.
4. Theun van Dijk, “Action, Action Description and Narrative,” Poetics 5 (1974): 287–338.
5. Roland Barthes, “L’Effet de réel,” in Essais critiques IV: Le bruissement de la langue (Paris: Seuil, 1984), pp. 167–174.
6. Marcel Proust, in Contre Sainte-Beuve, trans. Sylvia Townsend Warner, in Marcel Proust on Art and Literature (New York: Carroll and Graf, 1984), p. 152.
7. T. S. Eliot, Selected Essays (London: Faber and Faber, 1932), p. 144.
8. Jerome Bruner, Actual Minds, Possible Worlds (Cambridge, Mass.: Harvard University Press, 1986).
9. See Arthur Danto, Analytical Philosophy of History (Cambridge, Mass.: Harvard University Press, 1965); Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe (Baltimore: Johns Hopkins University Press,1973); and Jorge Lozano, El discurso histórico (Madrid: Alianza Editorial, 1987).
10. A.-J. Greimas and Joseph Courtés, Semiotics and Language: An Analytical Dictionary, trans. Larry Christ and Daniel Patte (Bloomington: Indiana University Press, 1979).
11. For a complete survey of the whole affair see Norman Cohn, Warrant for Genocide: The Myth of the Jewish World-Conspiracy and the Protocols of the Elders of Zion (New York: Harper and Row, 1967).
12. Nesta Webster, Secret Societies and Subversive Movements (London: Boswell, 1924), pp. 408–409.
INDEX
Abbott, Edwin: Flatland, 79–81, 83, 99
Adam, 129–130
Aesop, 2, 110
Alembert, Jean Le Rond d’, 133
Antonioni, Michelangelo: Blow Up, 99
Aristotle, 64, 122
Assassins, 134
Augustine, Saint, 68
Austen, Jane, 11
Barruel, Abbé: Mémoires, 133–134, 138
Barthes, Roland, 104, 118, 122
Bergman, Ingrid, 127
Berkheim, Charles de, 133
Bible, 68, 128
Black Hundreds, 136, 138
Boccaccio, Giovanni: Decameron, 128
Bonomi, Andrea, 118–119
Borges, Jorge Luis, 6, 131; “Funes the Memorious,” 110
Bournand, François: Les Juifs, nos contemporains, 136
Brotherhood of the Rosy Cross, 132, 138
Bruner, Jerome, 130
Bruno, Giordano, 110
Brutus, 131
Buckingham, Duke of (George Villiers), 64, 90–91, 113
Burke, Kenneth, 129
Calvino, Italo: If on a Winter’s Night a Traveler, 1–2; Italian Folkways, 2–3; Six Memos for the Next Millennium, 2–3, 7, 49
Campanile, Achille: Agosto, moglie mia non ti conosco, 3–4, 83; Ma che cos’è questo amore, 100
Casablanca, 6, 127
Celli, Giorgio, 120–121
Cervantes, Miguel: Don Quixote, 127
Charles the Bald, 100
Chatman, Seymour, 54
Childers, Peter: The Cognitive Computer, 110–112
Christie, Agatha: The Murder of Roger Ackroyd, 27–29
; “Cinderella,” 84
Coleridge, Samuel Taylor, 75
Collodi, Carlo: Pinocchio, 10–11
Columbus, Christopher, 109
Compton-Burnett, Ivy, 64
Condorcet, Marquis de (Marie-Jean Caritat), 133
Confessio roseae crucis, 132
Conrad, Joseph: Lord Jim, 127
Corday, Charlotte, 122
Cyon, Eliede, 136, 138
Dake, Charles Romyn, 7
Dali, Salvador, 69
Dante Alighieri: Divine Comedy, 66–67, 117, 128
Danto, Arthur, 130
Defoe, Daniel: Robinson Crusoe, 123–124
Diderot, Denis, 133
Döblin, Alfred, 84
Doležel, Lubomir, 81–82
Donnellan, Keith, 105
Dostoyevski, Fyodor, 11
Doyle, Arthur Conan, 84, 105, 107, 125, 127, 139
Dreyfus, Alfred, 136
Dumas, Alexandre, 37, 138; The Count of Monte Cristo, 64; Joseph Balsamo, 135–136; The Three Musketeers, 62–64, 90, 101–110, 112–114, 117–118, 126; Twenty Years Later, 90–91
Eco, Umberto, 120–121, 140; Foucault’s Pendulum, 9, 76–77, 86–87, 118; Interpretation and Overinterpretation, 10, 108; Lector in fabula (The Role of the Reader), 1–2, 8, 50; The Limits of Interpretation, 10, 95, 108; The Name of the Rose, 115, 123; The Open Work, 16, 117; “Small Worlds,” 95–96; “L’uso pratico del personaggio artistico,” 85–86
Einstein, Albert, 5
Elders of Zion, 136–139
Eliot, George (Mary Ann Evans), 14
Eliot, T. S., 36, 127–128, 137
Escudero, Lucrecia, 97
Euclid, 80, 85
Falla, Manuel de, 140
Fama fraternitatis, 132
Faulkner, William: Sanctuary, 127
Felton, John, 90–91
Fielding, Henry: The History of Tom Jones, 122
Fields, W. C., 122
“Flash Gordon,” 92
Flaubert, Gustave: Madame Bovary, 36–37, 110–111, 127; The Sentimental Education, 56–57, 61
Fleming, Ian, 67–68; Casino Royale, 55–56
Frederick the Great, 124
Freemasons, 132–134, 138
Gadda, Carlo Emilio, 118–119
Garibaldi, Giuseppe, 124, 134
Gaudí, Antonio, 77
Genette, Gérard, 30, 54
Gibbon, Edward: History of the Decline and Fall of the Roman Empire, 120
Gioberti, Vicenzo, 134
Glaber, Rudolph: Historia suorum temporum, 122–123
Goedsche, Hermann (“John Retcliffe”): Biarritz, 135, 138
Goodman, Nelson, 88
Greimas, A.-J., 130
Grimm, Jacob and Wilhelm, 35, 91
“Hansel and Gretel,” 27
Hawthorne, Nathaniel: The Scarlet Letter, 124
Hegel, Georg Wilhelm Friedrich, 37, 118
Henry V, 131
Hesse, Hermann: Siddhartha, 127
Hitler, Adolf, 137
Homer: Odyssey, 33–35, 65
Humblot, M., 49
Huston, John, 36
Huysmans, Joris-Karl, 50
Invernizio, Carolina: L’albergo del delitto (The Murderous Inn), 4, 86
Ionesco, Eugène, 64
Irving, Washington: “Rip Van Winkle,” 95
Iser, Wolfgang: The Act of Reading, 16; The Implied Reader, 15
Jacobins, 133
James, Henry, 46
Jesuits, 133–135
“Jews, Masters of the World, The,” 135
Joly, Maurice, 135–138
Josephine, Empress, 90
Joyce, James, 117; “The Dead,” 36; Dubliners, 36; Finnegans Wake, 16–17, 109–110, 112; A Portrait of the Artist as a Young Man, 15, 36, 116; Ulysses, 6, 27, 33, 59, 84, 117–118, 122, 125, 127
Julius Caesar, 131
Jupiter, 129
Kafka, Franz: “Metamorphosis,” 4–5, 78–79; The Trial, 84–85
Kant, Immanuel, 11
Kazin, Alfred, 5
Knights Templars, 77, 132–134, 138
Kuhn, Thomas, 88
Lafayette, Madame de (Marie-Madeleine Pioche de la Vergne): La Princesse de Clèves, 123
Lear, Edward, 34–35
Leonardo da Vinci, 11
“Little Red Riding Hood,” 6, 8, 27, 34–35, 77, 91–92, 107, 110, 115
Lodwick, Francis, 129
Lovecraft, H. P., 7, 78
Luchet, Marquis de, 133–134, 138
Lucianus of Samosata: A True Story, 122
Macaulay, Thomas Babington, 123–124
Machiavelli, Niccolò, 135
Mad magazine, 50–51
Mani, 134
Mann, Thomas, 5
Manzoni, Alessandro: I promessi sposi (The Betrothed), 52–54, 57–58, 68, 71–73, 78
Mattson, Morris, 20
Medici, 69–70, 85
Melville, Herman: Moby-Dick, 20, 27
Michelet, Jules, 134; Histoire de France, 122
Mitchell, Margaret: Gone with the Wind, 88, 90, 92–93, 117–118
Molay, Jacques de, 133
Montesquieu, Baron de (Charles-Louis de Secondat), 135
Musil, Robert: The Man without Qualities, 124
Napoleon I (Napoleon Bonaparte), 88–90, 109, 114, 117, 131, 133–134
Napoleon III (Louis-Napoleon), 56, 135–136
Nerval, Gérard de (Gérard Labrunie), 44, 47, 80; Aurélia, 15, 32; Les Filles du feu, 37; Sylvie, 12–15, 20, 22–24, 29–32, 36–43, 54, 65, 68–70, 83–85, 94, 113–114, 117, 125
Neuhaus, Heinrich, 132
Nilus, Sergei, 137–138
Nostradamus (Michel de Nostre-dame): Centuries, 128
Novalis (Friedrich von Hardenberg), 125
Old Man of the Mountain, 134
Ollendorff (publisher), 49
Peckinpah, Sam, 56
Penrose, Lionel S. and Roger, 81
Perec, Georges: Tentative, d’épuisement d’un lieu parisien, 59–60, 87
Perrault, Charles, 35, 90–91
Pessoa, Fernando, 14
Phaedrus, 2
Philip the Fair, 132
Pisanty, Valentina, 92
Plato: “Cratylus,” 129
Plutarch: “Life of Pericles,” 123; Lives, 122
Poe, Edgar Allan: The Narrative of Arthur Gordon Pym, 6–8, 18–21, 28;
“The Philosophy of Composition,” 44–47; “The Raven,” 44–47
Pollock, Jackson, 59
“Popeye,” 127
Poulet, Georges, 29
Protocols of the Learned Elders of Zion, 136–139
Proust, Marcel, 11, 118; “A ajouter à Flaubert,” 36–37, 110; A la Recherche du temps perdu, 49, 71, 86; Contre Sainte-Beuve, 125; “Gérard de Nerval,” 29, 32, 38, 43; “A Propos du style de Flaubert,” 56–57
Pugliatti, Paola, 16
Putnam, Hilary, 89
Quine, Willard Van Orman, 88
Quinet, Edgar, 134
Rabelais, Francois: Gargantua, 117, 127
Rachkovsky, Peter Ivanovich, 136, 138
Radcliffe, Ann: The Mysteries of Udolpho, 95–96, 101
Radiguet, Raymond: Le Diable aucorps, 11
Readcliff, John, 136, 138
Robbe-Grillet, Alain: La Maison derendezvous (The House of Assignation), 81–82
Rocky Horror Picture Show, The, 127–128
Roothaan, Father, 135
Rosicrucians, 132–133, 138
Rostand, Edmond: Cyrano de Bergerac, 126
Rousseau, Jean-Jacques, 31, 69, 85
Salinger, J. D., 11
Sayers, Dorothy, 66
Schank, Roger: The Cognitive Computer, 110–112; Reading and Understanding, 5–6
Schwarz, Berthold, 43–44
Scott, Walter, 120; Ivanhoe, 94–95
Scottish Freemasons, 132–134
Searle, John, 75
Servandoni, Giovanni Niccolò, 104, 107, 114
Shakespeare, William, 117; Hamlet, 88, 127–128, 137
Southern Literary Messenger, 19
Spillane, Mickey, 61; My Gun Is Quick, 17; One Lonely Night, 55–56
Stagecoach, 49
Stendhal (Marie-Henri Beyle): Le Rouge et le noir (The Red and the Black), 85–86, 117
Sterne, Laurence: Tristram Shandy, 7–8
Stevenson, Robert Louis: Treasure Island, 127
Stout, Rex, 84, 93–94, 114
Sturges, John: Bad Day at Black Rock, 64–65
Sue, Eugène, 136, 138; The Mysteries of Paris, 135, 139; The Mysteries of the People, 134–135, 139; The Wandering Jew, 134
Swift, Jonathan: Gulliver’s Travels, 14
Tolstoy, Leo: War and Peace, 93
“Tom Thumb,” 27
Tracy, Spencer, 64–65
Turgot, Anne-Robert-Jacques, 133
Ulysses (Odysseus), 33–34
Verne, Jules, 7; Around the World in Eighty Days, 54
Virgil: Aeneid, 128
Vittorio Emanuele III, 75, 77–78
Voltaire (Francois-Marie Arouet), 133
Wagner, Richard, 58
Warhol, Andy, 59
Wayne, John, 49
Webster, Nesta: Secret Societies and Subversive Movements, 138
Harvard University Press is a member of Green Press Initiative (greenpressinitiative.org), a nonprofit organization working to help publishers and printers increase their use of recycled paper and decrease their use of fiber derived from endangered forests. This book was printed on 100% recycled paper containing 50% post-consumer waste and processed chlorine free.
