安伯托·艾柯(Umberto Eco)是一位享譽世界的哲學傢、符號學傢、曆史學傢、文學批評傢和小說傢。艾柯極為博學多纔,他的作品有140多種,橫跨多個領域,並在這些領域中都有經典性的建樹。艾柯還是位積極的公共知識分子,為多傢報紙撰寫專欄,透過日常小事進行社會批評。艾柯在歐洲已成為知識和教養的象徵,許多傢庭都會收藏他的作品,無論讀懂或讀不懂。
"Come stroll with me through the leafy glades of narrative..." With Umberto Eco as companion and guide, who could resist such an invitation? In this exhilarating book, we accompany him as he explores the intricacies of fictional form and method. Eco draws us in by means of a novelist's techniques, making us his collaborators in the creation of his text and in the investigation of some of fiction's most basic mechanisms. How does a text signal the type of reader it wants, and how does it "stage" for us, through its style and voice, a certain version of the author? What is the relation between this "model reader" and "model author"? How does narrative lead us on, persuade us to lose ourselves in its depths? The range of Eco's examples is astonishing - from fairy tales, through Flaubert, Poe, and Manzoni, to Ian Fleming, Mickey Spillane, and Casablanca. In a detailed analysis of one of his favorite texts, Gerard de Nerval's Sylvie, Eco examines the uses of temporal ambiguity, demystifying the "mists" in the literary forest. In another chapter, he takes detective fiction and pornography as a basis for discussing narrative pace - strategic speeding up and slowing down - and the relationship between real time and narrative time. And in yet another chapter, we follow Eco as he shadows the musketeer D'Artagnan through the streets of seventeenth-century Paris, a trail that leads us to the uncertain boundary between story and history. Fiction is parasitically dependent on reality; but reality, too, feeds on fiction. Here, the book reveals its serious side. What are the implications for society when the line between reality and fiction becomes blurred? How are stories ("plots" in the mostinsidious sense of the word) constructed over the course of time? In order to be responsible citizens of the world, Eco shows, we must be skilled and incisive readers. Getting lost in the blurry region where the real and the fictional merge can be a disturbing experience. But Eco's unerr
一点都不枯燥的文艺理论书籍.是作者在哈佛的讲座的记录.非常有趣,像是一次旅行般惬意.译者很年轻,所以译文非常清新,书的封面设计也很漂亮.推荐
評分这本书由安贝托·艾柯在美国哈佛大学诺顿讲座上的六篇演讲汇集而成。该讲座自从1925年开讲以来,每年都会邀请当今世界上著名的作家和学者,分享自己的创作心得。 我们所熟知的卡尔维诺的《未来千年文学备忘录》、博尔赫斯的《诗艺》、奥尔罕·帕默克的《天真的和感伤的小说家》...
評分粗略的读了这本书,跳过很多过于西方背景和概念性的内容,浓缩下来,大概就是不太认真的听了一场演讲。 整个演讲给我的感觉就像一个充满智慧的老守林人在带人游览森林,这座森林之中除了有前人栽下的千年古树,守林人自己本身也种树。 白天匆匆游览完森林中他比较熟悉的部...
評分艾柯总是喜欢弄点玄虚,这次也不例外。在提及本书的名字时,他用了一个博尔赫斯曾经用过的隐喻:丛林是“小径分岔的花园”——“即使其中没有一条已被人走出来的大路,每个人也可以按照自己的步子前进,可以自己决定是走树的左边还是右边的,并且在每次碰到树的时候...
評分相对于普鲁斯特、巴尔扎克、福楼拜,安贝托•艾柯不是大家,为什么会这样说,让我想一想,是因为他的文章比较浅显易读?因为他的文本释义给我们带来的更多是愉悦,而不是象普鲁斯特之类让我们反复地揣磨?但是,艾柯是某个领域的专家,这点不容置疑,臂如符号学、叙事学。 ...
2009.10-2010.08
评分2009.10-2010.08
评分寫論文過程中的偶遇 原來竟然是老朋友
评分2009.10-2010.08
评分寫論文過程中的偶遇 原來竟然是老朋友
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