Even in his first essays in the sixties, the author's approach to reading, interpreting and commenting on culture could already be seen as that of a semiotician who had not yet adopted the technical jargon of the discipline. In fact, it would not be too far-fetched to consider the Eco of the sixties as essentially a young Adso (see the discussions on reading signs betwen William and Adso in The Name of the Rose) ready to learn about semiotics from the right mentor. We must also remember that as soon as Eco no longer feels satisfied by the early writings of French semioticians and structuralists like Barthes and Levi-Strauss, he turns to the studies of Jakobson and Peirce on the science of signs.

Also, few intellectuals can match Eco's great interdisciplinary skills.

In general, Eco's critics (most of them academic) have suggested that he is successful because he publishes trendy books.

The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts. Such a difference between text and system is enormously important,

Notice that if the question concerned the possibility of infinite, or indefinite, interpretations on the part of the reader, it would have very little to do with the problem under discussion.

"Do you think this might lead to new forms of literature?" I have been using a fantastic hypertext for the last 30 years. It is called Scrabble. Isn't it true that with Scrabble you can compose every possible cross link, every combination of sentences. It's a nice game, it can have educational purposes. Sometimes my wife who is German learned part of her English lexicon by playing Scrabble. Sometimes we play Scrabble in English, or in French. OK, but if you are a poet you have your mental Scrabble. You don't need the board to do it. It is the same I think for all those kinds of games. They can be very nice to play. So, I repeat: they can be used for training people in inventing and composing, but they have nothing to do, according to me, with the future of literature.

Then, when you read a serious book on Cremonini, first you discover that Cremonini was a great mind of this time, even though he was not an innovator like Gallileo, and that it isn't true that he refused to look into the binocular. He just said: "At the present state of technology, those lenses are very rudimentary, so I don't think that they can really help me to see something more." It was an objection to the present primitive state of the art. So what I am making now is probably a statement that we are still at a primitive state of the art. I have not been interested up to now to try virtual reality. Because until it is possible to make love to Marilyn Monroe; until the moment that her clothes start floating away - well, then at that moment I will try! But as long as it is just a sketch of Marilyn Monroe, and I can have the real sensation elsewhere, then the state of the art is so primitive that I prefer to wait, that's all! If you offer me this possibility soon, or better still, if you offer me this possibility when I am 80, I will be enthusiastic about the innovation, and I will become a fanatic supporter!

SPIEGEL: In your exhibition at the Louvre, you will also be showing works drawn from the visual arts, such as still lifes. But these paintings have frames, or limits, and they can't depict more than they happen to depict. Eco: On the contrary, the reason we love them so much is that we believe that we are able to see more in them. A person contemplating a painting feels a need to open the frame and see what things look like to the left and to the right of the painting. This sort of painting is truly like a list, a cutout of infinity.

SPIEGEL: But you also said that lists can establish order. So, do both order and anarchy apply? That would make the Internet, and the lists that the search engine Google creates, prefect for you. Eco: Yes, in the case of Google, both things do converge. Google makes a list, but the minute I look at my Google-generated list, it has already changed. These lists can be dangerous -- not for old people like me, who have acquired their knowledge in another way, but for young people, for whom Google is a tragedy. Schools ought to teach the high art of how to be discriminating.

Culture isn't knowing when Napoleon died. Culture means knowing how I can find out in two minutes. Of course, nowadays I can find this kind of information on the Internet in no time. But, as I said, you never know with the Internet.

In semiotics and postmodern philosophy, the term hyperreality characterizes the inability of consciousness to distinguish reality from fantasy, especially in technologically advanced postmodern cultures. Hyperreality is a means to characterise the way consciousness defines what is actually "real" in a world where a multitude of media can radically shape and filter the original event or experience being depicted.

Eco saw that we create these realistic fabrications in an effort to come up with something that is better than real -- a description that is true of virtually all fiction and culture, which gives us things that are more exciting, more beautiful, more inspiring, more terrifying, and generally more interesting than what we encounter in everyday life.

As Eco explains it, his trip is a pilgrimage in search of "hyperreality," or the world of "the Absolute Fake," in which imitations don't merely reproduce reality, but try improve on it.

When he travels the artificial river in Disneyland, for example, he sees animatronic imitations of animals. But, on a trip down the real Mississippi, the river fails to reveal its alligators. "...You risk feeling homesick for Disneyland," he concludes, "where the wild animals don't have to be coaxed. Disneyland tells us that technology can give us more reality than nature can."

Amateurism can be seen in both a negative and positive light. Since amateurs often do not have formal training, some amateur work may be sub-par. For example, amateur athletes in sports such as basketball or football are not regarded as having the same level of ability as professional athletes. On the other hand an amateur may be in a position to approach a subject with an open mind (as a result of the lack of formal training) and in a financially disinterested manner. The lack of financial recompense can also be seen as a sign of commitment to an activity; and until the 1970s the Olympic rules required that competitors be amateurs. Receiving payment to participate in an event disqualified an athlete from that event, as in the case of Jim Thorpe. In the Olympics, this rule remains in place for boxing.

Many amateurs make valuable contributions in the field of computer programming through the open source movement.

As for why a straight woman writes gay romance, Penley suggests, it has to do with body politics. Women’s bodies are a political and social battleground. Women are told how to behave, and whether or not they can abort fetuses. They are held to impossibly high standards of beauty. Maybe they write with men’s bodies, she theorizes, because those bodies aren’t as problematic as their own. Maybe men’s bodies are just easier. Linda Williams, a Berkeley professor who wrote the first serious book about porn film, Hard Core: Power, Pleasure, and the “Frenzy of the Visible,” suggests a similar freedom — specifically, one from worry. When women watch straight pornography, there’s always the problem of who’s on top, or who’s on the bottom. “On the other hand,” Williams says, “if you’re watching two men having sex, you don’t have to worry about a woman being mishandled, or abused or overpowered.”Or it could simply be a fantasy of abundance. “If you presume that these women are heterosexual,” Williams adds, “and their own desire is for men, then you’ve doubled the pleasure.”Another prevailing belief is that the pleasure these women derive from reading erotic romances about two men has less to do with the sex than with the romance. The main pleasure comes from the romantic story, i.e., the plot. And the plots are essentially female. The sex is just the cherry on top.

The results for men, Bailey says, were as expected. Their arousal was “category-specific.” Men were turned on, in other words, only by the categories of people they prefer to have sex with. The women, however, had a different, far more surprising pattern of arousal: It didn’t matter whether the women said they were gay or straight, they were turned on by all the films. Bailey concluded that men’s and women’s brains are likely organized differently.As you might guess, Bailey is a controversial figure. That study, published in the journal Psychological Science, as well as his other research concerning the etiology of sexual arousal, has been attacked by everyone from The Washington Times and conservative congressmen to gay activists. (Bailey was also one of the first researchers to suggest that homosexuality is substantially genetic.)But why should a woman be turned on by a variety of stimuli any more so than a man? It may not make sense politically, but one of Bailey’s co-researchers, Meredith Chivers, might have found an answer by pushing the reasoning even further. She speculates that women’s genitals tend to lubricate in the presence of sexual cues as a defense against rape. Ancestral women whose bodies didn’t automatically lubricate during unwanted vaginal penetration might have sustained more serious injuries and would not have survived to pass the trait along to offspring. Becoming physically (if not mentally) aroused by a whiff of sex in the air, in other words, is evolutionarily adaptive for women. Which is not of course the same thing as pleasure. On that score, Bailey’s findings are reinforced by Abramson’s scientific experiments on masturbation from the early ’70s. He showed his subjects films of people masturbating to orgasm. As in the other studies, straight women were aroused equally by both genders. Abramson concluded that women are equally adept at imagining themselves as either the pleasurer or the receiver.

A straight woman is using a male pseudonym to seem more authentic writing about gay men. Why is this not seen as wrong? Why is this not seen as a gross appropriation?

However - for a straight woman to summarise coming to terms with homophobia, your sexuality and the closet as “not having the balls to be happy.” Really, no. Seriously no. There is so much ignorant privilege there I can’t even begin to address it. Sorry if depiction of the reality of homophobia spoiled your Happily Ever After.

But not gay male experiences - but some of these authors feel free to claim they have and appropriate at will.

How did the concept of professionalism become so dominant? And why is it assumed to be innately desirable? Professionalism has certainly travelled a long way in a short time. In the space of a hundred years, the words “professional” and “amateur” have virtually swapped places. At the end of the 19th century, an amateur meant someone who was motivated by the sheer love of doing something; professional was a rare, pejorative term for grubby money-making. Now, amateurism is a byword for sloppiness, disorganisation and ineptitude, while professionalism–as Humphrys suggested–is the default description of excellence.

Over-professionalism is everywhere. Teachers in England are trained to plan lessons in segments of three minutes, a theory which leaves little room for spontaneity in the classroom. They are also often exhausted before term even starts because of the endemic pressure to plan every lesson weeks in advance. It is all too tempting for teachers to sacrifice freshness–which is impossible to measure or record on paper–in favour of form-filling. But can education ever be mapped out in such prescriptive terms? Anthony Seldon, Master of Wellington College, thinks not: “The erosion of trust in education is sucking the life out of classrooms, teachers and students. You can tick all the boxes under the sun and still be a lousy teacher. You cannot encapsulate the human experience of learning in some mechanistic pedantry.”

Measurement is another fetish of professionalism, as if something that cannot be measured isn’t quite real. This was a central criticism by Sir Ivor Roberts, who wrote a stinging valedictory telegram when he retired as the British ambassador in Rome in 2006: “Well-conducted diplomacy cannot properly be measured. We manage or contain disputes; very rarely do we deliver a quantifiable solution. Indeed, we should be sceptical of ‘permanent’ solutions or models.”

the instrumentalist's freedom is a function of the "narrative" structure of the piece

the instrumentalist's freedom is a function of the "narrative" structure of the piece

the instrumentalist's freedom is a function of the "narrative" structure of the piece

Because before you start talking about a Minister of Culture you have to decide what you mean by "culture." If it refers to the aesthetic products of the past -- beautiful paintings, old buildings, medieval manuscripts -- then I'm all in favor of state protection; but that job is already taken care of by the Heritage Ministry. So that leaves "culture" in the sense of ongoing creative work -- and I'm afraid that I can't support a body that attempts to encourage and subsidize this. Creativity can only be anarchic, capitalist, Darwinian.

The present and the forthcoming young generation is and will be a computer- oriented generation. The main feature of a computer screen is that it hosts and displays more alphabetic letters than images.

Moreover, the new generation is trained to read at an incredible speed. An old-fashioned university professor is today incapable of reading a computer screen at the same speed as a teenager

I am a rare-book collector, and I feel delighted when I read the seventeenth-century titles that took one page and sometimes more. They look like the titles of Lina Wertmuller's movies. The introductions were several pages long. They started with elaborate courtesy formulas praising the ideal addressee, usually an emperor or a pope, and lasted for pages and pages explaining in a very baroque style the purposes and the virtues of the text to follow. If baroque writers read our contemporary scholarly books they would be horrified. Introductions are one-page long, briefly outline the subject matter of the book, thank some national or international endowment for a generous grant, shortly explain that the book has been made possible by the love and understanding of a wife or husband and of some children, and credit a secretary for having patiently typed the manuscript. We understand perfectly the whole of human and academic ordeals revealed by those few lines, the hundreds of nights spent underlining photocopies, the innumerable frozen hamburgers eaten in a hurry.... But I imagine that in the near future we will have three lines saying "W/c, Smith, Rockefeller," which we will decode as "I thank my wife and my children; this book was patiently revised by Professor Smith, and was made possible by the Rockefeller Foundation." That would be as eloquent as a baroque introduction. It is a problem of rhetoric and of acquaintance with a given rhetoric.

The age issue is something I don't usually see addressed in discussions about animanga fandom, at least in a way that isn't derisive. Obviously there are plenty of fans who aren't in the range of the general anime marketing demographic (which is another topic about the way US companies frame animanga), but after the huge boom in popularity/marketing push in the early 00s, the majority of animanga fans have been pre- to late-teenagers. And there is no group in the world that is as uneducated, inexperienced, and defensive about sexuality/gender/cultural issues than pre- to late-teenagers. Better yet, most of those fans in this particular corner of the internet are girls, who are not only inexperienced, but are also the demographic most likely to be scared of their own sexuality. There's meta floating around of the 'why do we slash?' variety, and one of the proposed ideas was that some fans use slashing as a way to explore sexuality without making it personal. It's the best description of a Yaoi FanGurl I've ever heard.