By Umberto Eco
Un análisis exhaustivo de los personajes que aparecen en las novelas.
«Creo que se puede afirmar que los angeles pretendida superhumanidad de Nietzsche tiene por origen y modelo doctrinal no a Zaratustra, sino al conde de Montecristo de Dumas.» Eco parte de esta afirmación de Gramsci para estudiar a los superhombres de las novelas populares, de Rocambole a Montecristo, de Arsène Lupin a James Bond, de Tarzán a Superman, sin olvidar a Rodolphe de Gerolstein, el príncipe de Los misterios de París. ¿Por qué y cómo se leen las novelas folletinescas? ¿Qué mecanismos entran en juego en su estructura narrativa? ¿Cómo funciona los angeles ideología de l. a. consolación (el héroe consuela al lector de no ser un superhombre)? Estas son algunas de las preguntas que se plantea Umberto Eco en esta recopilación de ensayos magistrales.
La crítica ha dicho...
«No es solo un punto de referencia imprescindible a l. a. hora de enfrentarse al vasto mundode los angeles literatura renowned, es también una delicia por su chispeante estilo.»
Joaquín Marco, ABC
«Uno de los pensadores más influyentes de nuestro tiempo.»
Los Angeles Times
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Additional info for El superhombre de masas
It is the domain of reason, thought, and truth, as distinguished from and even opposed to that of imagination, illusion, and fable or myth, that Leopardi considers to be utterly unwholesome for the growth of true poetry. Though his own poetry is seldom free from thought, and sometimes thought at the deepest level, in theory Leopardi is as much in favor of the "life of sensations rather than that of thought" as Keats himself. Even if "logical intuition" and "fabulous prestige," as Lodovico Di Breme put it, are incompatible today, and even though our imagination is weaker than that of the ancients, it does not mean that the essential nature and material of poetry has changed.
Both, besides being models of creative polemics, are also illuminating accounts of what their authors considered to be the essential nature and function of poetry itself, not merely the difference between classical and romantic poetry. In many respects, therefore, this essay adumbrates Leopardi's theory of poetry as such and is an indication of the remarkably parallel or [ 21] Leopardi and the Theory of Poetry allied developments in him both as a poet and as a theorist and critic of poetry. One thing that must be made clear at the very outset is that what Leopardi condemned as romantic has very little to do, in spite of his reference to English and German poetry, with those attitudes, assumptions, and features which characterized English poetry at the beginning of the nineteenth century.
38 Whatever, therefore, be the intrinsic or historical value of Leopardi's juvenile writings of philological character as such, they constitute an indisputable proof of the level of critical awareness that his mind had reached at such an early age, and that governed his whole attitude to all he read or wrote. "39 With such an arduous training and background behind him, whatever Leopardi was going to say henceforward about poetry and literary criticism must at least have one infallible quality about it, that, whether it was basically right or wrong, it was the voice of a man who knew what he was talking about, and whose most casual observation was directly or indirectly the fruit of close study and earnest thought.