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By Umberto Eco

Umberto Eco lleva a cabo en esta serie de artículos y estudios una semiología de lo cotidiano, una aproximación al universo de los discursos periodísticos y l. a. costumbre

Este libro de estilo directo y narrativo, humor satírico y moralizante, está constituido por una serie de ensayos, muchos de los cuales son artículos periodísticos aparecidos en diferentes medios. A través de ellos, Eco nos ofrece una aproximación a los discursos periodísticos o políticos, a los fenómenos de l. a. moda y los angeles costumbre, desde los angeles perspectiva del estudioso del lenguaje: si lo utilizamos para hablar de las cosas, para silenciarlas o para convencernos de que son cosas cuando por el contrario se trata de ideologías, fantasmas, ilusiones o decepciones.

«Considero mi deber político invitar a mis lectores a que adopten frente a los discursos cotidianos una sospecha permanente, de los angeles que ciertamente los semióticos profesionales sabrían hablar muy bien, pero que no requiere competencias científicas para ejercerse.»

Umberto Eco

La crítica ha dicho...

«Provocador y lleno de matices... Demuestra l. a. sofisticación y los angeles perspicacia de Eco.»

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Sample text

The search for purity may have a certain justice as a description of the history from Diderot to Courbet (as sketched by Fried)—but even here its usefulness, its ability to understand the paintings in question—is extremely limited; the history as a history is comprehensible only on the basis of our recognition of the deeper complications that prescribe both the search for an abstract purity and its necessary failure. The two terms of "radical self-criticism" together circumscribe the historicity of modernist art.

It is the insistence of this question that has become central for criticism now. I have said that for painting rococo raises the question of the aesthetic as such. The consequent attempt to (re)establish the autonomy of the aesthetic can be posed initially in terms of a problem of purification—but the attempt at purification has become necessary only because painting has already glimpsed (and would suppress) its openness to and implication in the "impurity" of the extraaesthetic. " It is the "not" that precludes, in the long run, any simple semantic solution for the art of painting.

For the painter who would explicitly acknowledge the situation of painting (for example, Manet), this acknowledgment necessarily takes a form that can be described either as an appropriation of the great paintings of the past or as criticism of them. 12 The critic who writes from the position of a Greenberg or a Fried cannot simply "exclude" anyone from the history of art; exclusion belongs to the way the issues are set up for modernism: so that one will, on the one hand, always want very much to find that artifact (dadaist or minimalist or conceptual .

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