By Umberto Eco
Piezas que nacieron de un encargo o del puro divertimento donde Umberto Eco habla de los temas más variados, paseando con desenvoltura desde los angeles literatura a l. a. política o l. a. astronomía, y donde cada escrito se convierte en una pequeña lección para el que lo lee.
El libro arranca con el texto titulado «Construir al enemigo», donde se insiste en las bondades de tener siempre a mano a un rival en quien descargar nuestras debilidades o faltas y, si ese rival no existe, pues habrá que crearlo. Le siguen otros textos que cabalgan de Dan Brown a Barak Obama y Angela Merkel, y una espléndida pieza que aborda el tema de Wikileaks, invitándonos a reflexionar sobre el poder del silencio en una sociedad donde el escándalo es moneda corriente.
En otros escritos sale a l. a. luz l. a. corrupción política italiana, aliñada con el cuerpo de mujeres hermosas y dispuestas a triunfar, pero alrededor de este tema tan manido el professore hila unsagaz discurso sobre el ruido mediático, especialmente creado desde los centros de poder para distraer al ciudadano medio y ocultar otras noticias importantes. Y de los angeles política pasamos al Ulises, de Joyce, para descubrir una nueva opinión sobre esta novela que muchos mientan y pocos han leído.
Resumiendo, Eco tiene edad y condición para hablar de casi todo, enlazando temas que en apariencia parecen muy lejanos, y Construir al enemigo es el mejor ejemplo de una inteligencia privilegiada puesta al servicio de esos lectores que a los angeles vida le piden algo más que titulares de periódico.
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Extra resources for Construir al enemigo
Let us consider "Bluebeard," this simple and straightforward tale, and see ifwe can discern the nature of the Gothic dynamic. " Nevertheless, this single man in possession of a good fortune, is perennially in want of a wife. He approaches an unnamed widow with two beautiful daughters (also unnamed) and proposes to marry whichever one of them is willing. At first they are understandably cautious. But by means of a series of parties, where "nobody went to bed, but all passed the night in rallying and joking with each other," Bluebeard manages to convince the younger daughter that his "beard [was] not so very blue, and that he was a mighty civil gentleman.
The effects of those long-ago performances are almost entirely lost, and reading the text of a play gives one a far less authentic sense of the performance than reading a novel does. Ann Radcliffe's spectacular success may be 35 Chapter One related to her technique of scene painting, her lengthy, mood-creating landscapes that provide a backdrop for her characters, but also a ground for reaction. In describing the actions of her characters, she also places them on a richly detailed stage within the reader's mind.
1-2; my emphasis) A new assertion of power by the family (and by a state operating according to the implicit rules of patriarchy) in conflict with a new impulse toward "self-fashioning" is precisely the materials of which eighteenth-century Gothic is made. If Gothic romance is family romance, then we may begin to see why "Gothic" authors felt a kinship with Renaissance tragedy, especially Shakespeare's, and, incidentally, why Hamlet has proved so amenable to Freudian analysis. From the eighteenth-century perspective, to claim Shakespeare as one's father is a claim to legitimacy.