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"[READING ECO is a timely indication] of the fruitfulness of perceiving Eco as the same in his metamorphoses. [It also testifies] to a certain price that Eco and his readers must/may pay for the enormous pleasure and intellectual stimulus of being Eco and being with Eco." —The Comparatist

Umberto Eco is, quite simply, a genius. He is a renowned medievalist, philosopher, novelist, a popular journalist, and linguist. He is as warm and witty as he is learned—and quite probably the best-known academic and novelist in the world today. The goal of this anthology is to examine his ideas of literary semiotics and interpretation as evidenced both in his scholarly work and in his fiction.

Table of Contents

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  1. Title Page, Copyright, Dedication
  2. pp. i-vi
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  1. Table of Contents
  2. pp. vii-x
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  1. Foreword
  2. Thomas A. Sebeok
  3. pp. xi-xvi
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  1. Preface
  2. Rocco Capozzi
  3. pp. xvii-xxv
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  1. Abbreviations
  2. p. xxvi
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  1. Acknowledgments
  2. pp. xxvii-xxviii
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  1. Part I
  1. 1.1 Semiotics and the Philosophy of Language
  2. Umberto Eco
  3. pp. 1-13
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  1. 1.2 Innovation and Repetition: Between Modern and Post-Modern Aesthetics
  2. Umberto Eco
  3. pp. 14-33
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  1. 1.3 Two Problems in Textual Interpretation
  2. Umberto Eco
  3. pp. 34-52
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  1. 1.4 Universe Of The Mind. A Semiotic Theory Of Culture
  2. Umberto Eco
  3. pp. 53-58
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  1. 1.5 An Author and his Interpreters
  2. Umberto Eco
  3. pp. 59-70
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  1. Part II Readings on Eco. A Pretext to Literary Semiotics and Interpretation
  1. 2.1 The Open Work in Theory and Practice
  2. David Seed
  3. pp. 73-81
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  1. 2.2 Looking back on A Theory of Semiotics: One Small Step for Philosophy, One Giant Leap for the Doctrine of Signs
  2. John Deely
  3. pp. 82-110
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  1. 2.3 The Themata of Eco's Semiotics of Literature
  2. Lubomir Doležel
  3. pp. 111-120
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  1. 2.4 Toward Interpretation Semiotics
  2. Susan Petrilli
  3. pp. 121-136
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  1. 2.5 Openness, Eco, and the End of Another Millennium
  2. Irmengard Rauch
  3. pp. 137-146
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  1. 2.6 Eco, Peirce, and the Necessity of Interpretation
  2. Victorino Tejera
  3. pp. 147-162
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  1. 2.7 Semiotics and Deconstruction
  2. Hanna Buczynska-Garewicz
  3. pp. 163-172
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  1. 2.8 The Interpretant in Literary Semiotics
  2. Michael Riffaterre
  3. pp. 173-184
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  1. 2.9 On Truth and Lying: Umberto Eco and Algirdas Julien Greimas
  2. Paul Perron and Patrick Debbèche
  3. pp. 185-195
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  1. 2.10 Eco and Dramatology
  2. Roberta Kevelson
  3. pp. 196-209
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  1. 2.11 Esoteric Conspiracies and the Interpretative Strategy
  2. Anna Longoni
  3. pp. 210-216
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  1. 2.12 Interpretation and Overinterpretation: The Rights of Texts, Readers and Implied Authors
  2. Rocco Capozzi
  3. pp. 217-234
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  1. Part III Reading Eco's Possible Worlds
  1. The Name of the Rose
  1. 3.1 Gaudy Rose: Eco and Narcissism
  2. Teresa de Lauretis
  3. pp. 239-255
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  1. 3.2 The Mirrored World: Form and Ideology in Umberto Eco's The Name of the Rose
  2. David H. Richter
  3. pp. 256-275
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  1. 3.3 Give Me Another Horse
  2. Thomas A. Sebeok
  3. pp. 276-282
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  1. Foucault's Pendulum
  1. 3.4 Interpretation, Overinterpretation, Paranoid Interpretation and Foucault's Pendulum
  2. Peter Bondanella
  3. pp. 285-299
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  1. 3.5 Bellydancing: Gender, Silence, and the Wornen of Foucault's Pendulum
  2. Theresa Coletti
  3. pp. 300-311
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  1. 3.6 Irony-clad Foucault
  2. Linda Hutcheon
  3. pp. 312-327
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  1. 3.7 The Swing of the 'Pendulum': Eco's Novels
  2. Lois Parkinson Zamora
  3. pp. 328-348
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  1. The Island of the Day Before
  1. 3.8 "Whose 'Excess of Wonder' Is It Anyway?: Reading Umberto Eco's Tangle of Hermetic and Pragmatic Semiosis in The Island of the Day Before"
  2. Norma Bouehard
  3. pp. 350-361
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  1. 3.9 'Dove' is the Dove?
  2. Claudia Miranda
  3. pp. 362-386
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  1. 3.10 Intertextuality, Metaphors, and Metafiction as Cognitive Strategies in The Island of the Day Before
  2. Rocco Capozzi
  3. pp. 387-404
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  1. Part IV References
  1. 4.1 Notes
  2. pp. 407-439
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  1. 4.2 Integrated Bibliography
  2. pp. 440-472
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  1. 4.3 Contributors
  2. pp. 473-477
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