Umberto Eco Quotes
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I suspect that there is no serious scholar who doesn’t like to watch television. I’m just the only one who confesses.
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Well, Diotallevi and I are planning a reform in higher education. A School of Comparative Irrelevance, where useless or impossibe courses are given. The school's aim is to turn out scholars capable of endlessly increasing the number of unnecessary subjects.
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But why doesn't the Gospel ever say that Christ laughed?" I asked, for no good reason. "Is Jorge right?" "Legions of scholars have wondered whether Christ laughed. The question doesn't interest me much. I believe he never laughed, because, omniscient as the son of God had to be, he knew how we Christians would behave. . . .
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That is a real attitude - to see everything as being meaningful, even the less important things, to prove something, even the greater problems of life.
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Show not what has been done, but what can be. How beautiful the world would be if there were a procedure for moving through labyrinths.
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We know that sensory phenomena are transcribed in the photographic emulsion in such a way that even if there is a causal link with the real phenomena, the graphic images can be considered as wholly arbitrary with respect to these phenomena.
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It is necessary to meditate early, and often, on the art of dying to succeed later in doing it properly just once.
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Once upon a time there were mass media, and they were wicked, of course, and there was a guilty party. Then there were the virtuous voices that accused the criminals. And Art (ah, what luck!) offered alternatives, for those who were not prisoners to the mass media.
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The art of splitting hairs four ways. This is the department of useless techniques. Mechanical Avunculogratulation, for example, is how to build machines for greeting uncles. We're not sure, though, if Pylocatabasis belongs, since it's the art of being saved by a hair. Somehow that doesn't seem completely useless.
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Where else? I belong to a lost generation and am comfortable only in the company of others who are lost and lonely.
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Nothing is more fleeting than external form, which withers and alters like the flowers of the field at the appearance of autumn.
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One of the problems I have always discussed is the refusal to distinguish between comment and fact. The newspaper wraps every fact into a comment. It is impossible to give mere fact without establishing point of view.
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A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.
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A writer writes for writers, a non-writer writes for his next-door neighbor or for the manager of the local bank branch, and he fears (often mistakenly) that they would not understand or, in any case, would not forgive his boldness.
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I believe that you can reach the point where there is no longer any difference between developing the habit of pretending to believe and developing the habit of believing.
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We live for books.
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He who laughs does not believe in what he laughs at, but neither does he hate it. Therefore, laughing at evil means not preparing oneself to combat it, and laughing at good means denying the power through which good is self-propagating.
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Not that the incredulous person doesn't believe in anything. It's just that he doesn't believe in everything.
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Daytime sleep is like the sin of the flesh; the more you have the more you want, and yet you feel unhappy, sated and unsated at the same time.
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Two cliches make us laugh. A hundred cliches move us. For we sense dimly that the cliches are talking among themselves, and celebrating a reunion.
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All the theories of conspiracy were always a way to escape our responsibilities. It is a very important kind of social sickness by which we avoid recognizing reality such as it is and avoid our responsibilities.
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An idea you have might not be original. But by creating a novel out of that idea you can make it original.
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Originality and creativity are nothing but the result of the wise management of combinations. The creative genius combines more rapidly, and with a greater critical sense of what gets tossed out and what gets saved, the same material that the failed genius has to work with.
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If two things don't fit, but you believe both of them, thinking that somewhere, hidden, there must be a third thing that connects them, that's credulity.