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Six Walks in the Fictional Woods

Page 15

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
r />   Simonini, Captain, 134, 138

  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

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