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I developed a passion for the Middle Ages the same way some people develop a passion for coconuts.

Umberto Eco

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Umberto Eco
Age: 84 †
Born: 1932
Born: January 5
Died: 2016
Died: February 19
Essayist
Historian
Literary Critic
Literary Scholar
Medievalist
Novelist
Pedagogue
Philosopher
Screenwriter
Semiotician
Translator
Lissändria
Umberto Ecco
Umberto Eccounstino
Humberto Eco
Dedalus
Umberto Eko
Oumperto Eko
Eco Umberto
U. Eco
Developed
Develop
Middle
Passion
Age
Way
People
Coconuts
Ages

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Not bad, not bad at all, Diotallevi said. To arrive at the truth through the painstaking reconstruction of a false text.
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The faith a movement proclaims doesn't count: what counts is the hope it offers. All heresies are the banner of a reality, an exclusion. Scratch the heresy and you will find the leper. Every battle against heresy wants only this: to keep the leper as he is.
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Beauty has never been absolute and immutable but has taken on different aspects depending on the historical period and the country
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To read a paper book is another experience: you can do it on a ship, on the branch of a tree, on your bed, even if there is a blackout.
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Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.
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The Fundamental Principle that governs - or ought to govern -human affairs if we wish to avoid misunderstandings, conflicts, or pointless utopias, is negotiation.
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This, in fact, is the power of the imagination, which, combining the memory of gold with that of the mountain, can compose the idea of a golden mountain.
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I think every professor and writer is in some way an exhibitionist because his or her normal activity is a theatrical one. When you give a lesson the situation is the same as writing a book. You have to capture the attention, the complicity of your audience.
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Even today, I frequently meet scientists who, outside their own narrow discipline, are superstitious.
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It is obvious that the newspaper produces the opinion of the readers.
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My generation knew pretty well what happened 50 years before our birth. Now I follow all the quiz programs because they are a paramount example of the span of memory of the young generation - they are able to remember everything that happened in their life but not before.
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And what would we be, we sinful creatures, without fear, perhaps the most foresighted, the most loving of the divine gifts?
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A great problem of the internet is how to filter information, how to discard what is not relevant or what is silly and to keep only the important information.
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There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.
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Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position ... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.
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We are always remaking history. Our memory is always an interpretive reconstruction of the past, so is perspective.
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When I went from being an academic to being a member of the community of writers some of my former colleagues did look on me with a certain resentment.
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There is no great sport in having bullets flying about one in every direction, but I find they have less horror when among them than when in anticipation.
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New Orleans is not in the grip of a neurosis of a denied past it passes out memories generously like a great lord it doesn't have to pursue the real thing.
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I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
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