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______. 1959. “Sviluppo dell’estetica medievale.” In Momenti and problemi di storia dell’estetica, vol. 1. Milan: Marzorati (new enlarged edition Eco 1987a).
______. 1961. “Storiografia medievale ed estetica teorica.” Filosofia 12: 505–524.
______. 1962a. La struttura assente. Milan: Bompiani.
______. 1962b. L’opera aperta. Milan: Bompiani.
______. 1971. “Semantica della metafora.” In Le forme del contenuto. Milan: Bompiani.
______. 1973. “Palinsesto su Beato.” In Beato di Liébana. Milan: Franco Maria Ricci.
______. 1975. Trattato di semiotica generale. Milan: Bompiani.
______. 1979a. Lector in fabula. Milan: Bompiani.
______. 1979b. A Theory of Semiotics. Bloomington, IN: Indiana University Press.
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______. 1983a. “Corna, zoccoli, scarpe.” In U. Eco and T. A. Sebeok, eds., Il segno dei tre. Milan: Bompiani (also in Eco 1990).
______. 1983b. “L’antiporfirio.” In G. Vattimo and A. Rovatti, eds., Il pensiero debole. Milan: Feltrinelli, 1983 (also in Eco 1985c).
______. 1983c. Sette anni di desiderio: Cronache 1977–1983. Milan: Bompiani.
______. 1984a. Semiotica and filosofia del linguaggio. Turin: Einaudi.
______. 1984b. Semiotics and the Philosophy of Language. Bloomington, IN: Indiana University Press.
______. 1984c. The Role of the Reader. Explorations in the Semiotics of Texts. Bloomington, IN: Indiana University Press.
______. 1985a. “L’antiporfirio.” In Eco 1985c.
______. 1985b. “L’Epistola XIII and l’allegorismo medievale.” In Eco 1985c.
______. 1985c. Sugli specchi. Milan: Bompiani.
______. 1986a. Art and Beauty in the Middle Ages, trans. Hugh Bredin. New Haven: Yale University Press.
______. 1986b. “La ligne et le labyrinthe: les structures de la pensée latine.” In G. Duby, ed., Civilisation latine. Paris: Orban.
______. 1987a. “Ars oblivionalis.” Kos 3: 40–53.
______. 1987b. Arte and bellezza nell’estetica medievale. Milan: Bompiani.
______. 1988. The Aesthetics of Thomas Aquinas, trans. Hugh Bredin. Cambridge, MA: Harvard University Press.
______. 1989. “La semiosi ermetica and il paradigma del velame.” In Pozzato, ed., 1989.
______. 1990a. I limiti dell’interpretazione. Milan: Bompiani.
______. 1990b. The Limits of Interpretation. Bloomington, IN: Indiana University Press.
______. 1991. “La lingua universale di Ramón Llull.” Cahiers Ferdinand de Saussure 45: 121–149.
______. 1992a. “Forma locutionis.” In Gianni Vattimo, ed., Filosofia 91. Bari: Laterza.
______. 1992b. Interpretation and Overinterpretation. Cambridge: Cambridge University Press.
______. 1992c. “Pourquoi Llulle n’était pas un kabbaliste.” Magie du Livre, Livres de Magie = Aries 15: 85–93.
______. 1993. La ricerca della lingua perfetta. Rome-Bari: Laterza.
______. 1995. The Search for the Perfect Language, trans. James Fentress. Oxford: Blackwell.
______. 1996a. The Island of the Day Before, trans. William Weaver. New York: Penguin Books.
______. 1996b. “Jerusalem and the Temple as Signs in Medieval Culture.” In Manetti, ed., 1996.
______. 1996c. “Ostrigotta, ora capesco.” Introduction to James Joyce, Anna Livia Plurabelle, ed. Rosa Maria Bosinelli. Turin: Einaudi.
______. 1997a. “I rapporti tra Revolutio Alphabetaria e Lullismo.” In G. C. Garfagnini, ed., Giovanni Pico della Mirandola: Convegno Internazionale di Studi nel Cinquecentesimo Anniversario della morte (1494–1994), Mirandola, 4–8 ottobre 1994. Florence: Olschki.
______. 1997b. Kant and l’ornitorinco. Milan: Bompiani.
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______. 1998b. Serendipities: Language and Lunacy. New York: Columbia University Press.
______. 1998c. Tra menzogna e ironia. Milano: Bompiani.
______. 2000. Kant and the Platypus, trans. Alastair McEwen. New York: Harcourt Brace.
______. 2001. “Cinque sensi di ‘semantica.’ ” Versus 88–89: 21–35.
______. 2002. Sulla letteratura. Milan: Bompiani.
______. 2003. Dire quasi la stessa cosa. Milan: Bompiani.
______. 2004a. “L’esthétique médiévale d’Edgar de Bruyne.” In M. Storme et al., eds., Ethiek, Esthetieck en Cultuurfilosofie biy Edgar de Bruyne. Brussels: Koninlijke Vlaamse Academie van Belgie poor Wetenschappen en Kunsten.
______. 2004b. On Literature, trans. Martin McLaughlin. New York: Harcourt.
______. 2004c. “Fakes in Arts and Crafts.” In Roland Posner, Klaus Robering, and Thomas A. Sebeok, eds., Semiotik/Semiotics: Ein Handbuch zu den zeichentheoretischen Grundlagen von Natur und Kultur/A Handbook in the Sign-Theoretic Foundations of Nature and Culture, 4 vols. Berlin: Walter de Gruyter.
______. 2005. “La notion de limite.” Divinatio 21: 11–30.
______. 2007. “Weak Thought and the Limits of Interpretation,” trans. Antonio Calcagno. In Santiago Zabala, ed., Weakening Philosophy: Essays in Honour of Gianni Vattimo. Montréal: McGill University Press.
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______, eds. 1989. On the Medieval Theory of Signs. Amsterdam: Benjamins.
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