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 los angeles 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 los angeles 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 l. a. 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 l. a. vida le piden algo más que titulares de periódico.

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Example text

1 That Aeschylus is often concerned with the nature of cosmic order is familiar enough to all readers of Greek dramas; however, Jaeger’s reading of Prometheus Bound seems one-sided in its insistence on the positive value of suffering. His interpretation takes the experience of pain to be ultimately a blessing because with it comes a deeper knowledge of Zeus’s mighty and orderly rule. In this interpretation of Aeschylus, Prometheus, or what he represents, although he is not lacking in heroic stature, belongs in the last analysis to “the primitive world of Titans and their challenging arrogant hybristic strength” that must be brought finally under the subjection of Zeus.

62–63. 17. Jan M. Bremmer, Hamartia: Tragic Error in the “Poetics” of Aristotle and in Greek Tragedy (Amsterdam: Hakkert, 1969), pp. 111–112. 18. ; R. D. Dawe, “Some Reflections on Ate and Hamartia,” Harvard Studies in Classical Philology 72 (1967): 89–123; T. C. W. Stinton, Collected Papers on Greek Tragedy (Oxford: Clarendon Press, 1990). 19. Redfield, Nature and Culture, p. 86. Paul Ricoeur, Symbolism of Evil, trans. Emerson Buchanan (New York: Harper & Row, 1967), p. 226; see also p. 212.

Bremmer, Hamartia: Tragic Error in the “Poetics” of Aristotle and in Greek Tragedy (Amsterdam: Hakkert, 1969), pp. 111–112. 18. ; R. D. Dawe, “Some Reflections on Ate and Hamartia,” Harvard Studies in Classical Philology 72 (1967): 89–123; T. C. W. Stinton, Collected Papers on Greek Tragedy (Oxford: Clarendon Press, 1990). 19. Redfield, Nature and Culture, p. 86. Paul Ricoeur, Symbolism of Evil, trans. Emerson Buchanan (New York: Harper & Row, 1967), p. 226; see also p. 212. Wendy Doniger O’Flaherty, The Origins of Evil in Hindu Mythology (Berkeley: University of California Press, 1976).

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