De l'arbre au labyrinthe by Umberto Eco

By Umberto Eco

De l’Antiquité classique à nos jours, de multiples philosophies du signe et de l’interprétation se sont succédées, parfois choices, parfois complémentaires, sensibles en tout cas à des questions très différentes, et reflétant leur époque.
Au cours des dernières décennies, l’auteur a écrit de nombreux essais sur le sujet et il en présente ici une sélection. Cela va d’une vaste recherche (qui s’ouvre avec Aristote et se clôt sur l’intelligence artificielle) sur deux représentations de notre connaissance, explicitées par les modèles de l’arbre et du labyrinthe, à deux études qui retracent l’histoire de l. a. métaphore, d’Aristote à l’ère médiévale, en passant par un essai sur l. a. façon dont, au Moyen-Age, on classait l’aboiement du chien et les autres cris animaux, mais aussi par los angeles relecture du commentaire chaotique de l’Apocalypse qu’a livré Beatus de Liebana. On y découvre (ou redécouvre) également une étude sur les options médiévales de falsification ou encore une digression sur l’histoire de l’ars combinatoria de Lullo à Pic de los angeles Mirandole, un texte sur los angeles recherche séculaire d’une langue parfaite, un autre sur los angeles sémiotique implicite des Fiancés pour en arriver à une série d’études sur Kant, Peirce, Croce, les théories sémantiques de Bréal et à une comparaison polémique avec los angeles pensée « faible ».
La somme d'une vie d'étude de l'histoire de l. a. philosophie et de l. a. sémiotique par un des plus grands spécialistes.

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A genuine transposition of aesthetic categories to life would mean the realization of aesthetics in life, that is, the imaginative, defetishized subject/object unity that is peculiar to art. 39 It would take the form of the conscious relation of concrete individuals to themselves, to other people, and to human objectifications in a world remade on aesthetic-ethical-scientific principles by a conscious and self-conscious humanity. Neither Pater nor later bourgeois theorists can even approach such a conception in the absence of an interest in and commitment to revolutionary historical praxis and social liberation.

Understanding Media: The Extensions o f Man Through the Vanishing Point: Space in Poetry and Painting War and Peace in the Global Village PARTI General Introduction Structures and Genesis This page intentionally left blank CHAPTER1 Nineteenth-Century Problematics1 A Romantics Modern critical theory in the Anglo-American tradition has theoretical and historical roots in the period of eighteenth- and nineteenth-century romanticism. When we seek to illuminate the scope and pattern of change by comparing the two problematics, we find on every significant level that the strategic relation between romanticism and modern critical theory resides in the radical modern inversion of the romantic framework.

8 In this perspective, existing conventions and order—and this latter category in our epoch has always carried the content of oppression—become the main elements of value and creativity. At this point, before beginning the examination of the foundations of modern critical theory in T. S. Eliot and I. A. 9 In general, Kermode rejects the proclamations of war against romanticism by modern theorists, along with the latter’s explicit classicist bias, by arguing that their attitudes derive with no fundamental variation 18 Foundations o f modern critical theory from the romantic tradition of the isolated artist, separated from action, with unique access to reality through the truth of the Image, and are intelligible only in terms of this romantic tradition.

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