Umberto Eco on Literature - Dictionary of Arguments
Bible/Allegory/Middle Ages/Holy Scripture/Hermeneutics/Eco: the Holy Scripture could be interpreted in three different ways: E.g. Jacob in Egypt:
It literally says in the Bible: the children of Israel leave Egypt.
1. Allegory interpretation: our redemption through Christ.
2. Moral interpretation: turning the soul of sorrow and misery into a state of grace.
3. Anagogical interpretation: exit of the holy soul from the bondage of this corruption to freedom of eternal glory.
Novalis/Eco: Novalis exhibits pure evocative power of poetry as an art of indeterminate sense and imprecise meaning.
Mallarmé: "It must be avoided that a single sense is imposed".
Drama/Tragedy/Eco: Terminology: the deeper layers are called "action". Action: is unambiguous and
Literature/Art/Life/Eco: it is only natural that life is more like the Ulysses than the three musketeers. Nevertheless, we are all more inclined to perceive it in the categories of the three musketeers than in those of Ulysses. Or rather: I can only remember and judge life when I think of it as a traditional novel.
Rhyme: rhyme first stimulates invention and pleasant sound structure,...
..later, the rhyme will make us a prisoner. The rhyme gives birth to the rhyming lexicon, which at first becomes the repertoire of words to be rhymed, but later becomes the repertoire of the already rhymed. > alienation.
Eco I passim
Openness/Literature: Eco speaks of complexity and inaccuracy of the relationships of the figures.
Robbe Grillet/Nouveau novel: "The world is neither meaningful nor absurd: it is... around us, things are there. Its surface is clean and smooth, untouched, but without ambiguous shine and transparency. First the objects and gestures should prove their existence through their presence. Being here should prevail over any explanatory theory that wanted to lock it up. Sense and absurdity are not objective qualities. ((s) Robbe-GrilletVsEco.)
CalvinoVsRobbe Grillet: Calvino warned against the flooding and disturbing presence of a "sea of objectivity". Talking about this sea in seemingly objective terms means a return of "objectivity" to a human universe.
Robbe Grillet: Grillet would like to achieve a view, according to Eco, that is not distorted by an interest in things through his narrative technique.
Robbe Grillet/Eco: against Grillet, one can perhaps interpret it this way: the narrator does not define things as alien and metaphysical entities in no relation to us.
On the contrary, he determines a special kind of relationship between us and the things, a mode of "intentioning" the things that are unique to us. Instead of letting things be simple, he takes them to the area of a design operation that becomes a judgement on them.
(This is not Robbe Grillet's own interpretation).
EcoVsRobbe Grillet: Grillet is right when he thinks that the narrative structure must remain below the different interpretations. He is wrong when he believes that it is deprived of them because it is foreign to them. It is not foreign for them, but rather the sentence function of a number of situations in which we find ourselves set up in a language that had already spoken so much, that it is.
Sartre: Sartre was confused that the representatives of the Nouveau novel side by side with him signed politically committed manifestos.
Balzac: Marx and Engels: Mary and Engels acted reactionary and legitimistically; they basically had no interest in certain problems and agreed with the world in which they lived. Eco: Eco has, however, clarified their connections so clearly that he, at least in his work, did not remain their prisoner.
Modern literature/Eco: modern literature can no longer analyze the world in such a way that it turns to a subject. Rather, it changes the disposition of a certain structural articulation of the subject. By turning articulation into a subject and dissolving the actual content of the work.
II 148 Footnote
Literature/rhyme/Jakobson/Eco: Jakobson masterfully analyses the rhyme as a relational factor, where the equivalence of the sound - projects onto the sequence as his constituent principle - inevitably implies semantic equivalence(1).
(1) R. Jakobson, "Closing Statement: Linguistics and Poetics"; Style in Language, ed. T. A. Seboek, (1960)._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
Opera aperta, Milano 1962, 1967
Das offene Kunstwerk Frankfurt/M. 1977
La struttura assente, Milano 1968
Einführung in die Semiotik München 1972