2016年3月7日 星期一

Frank Kermode, The sense of an ending : studies in the theory of fiction

主要作者 Kermode, Frank, 1919- 書名/作者 The sense of an ending : studies in the theory of fiction : with a new epilogue / Frank Kermode 出版項 Oxford ; New York : Oxford University Press, 2000 版本項 [New ed.]


Lectures delivered as the Mary Flexner Lectures, Bryn Mawr College, fall 1965, under the title: The long perspectives
Includes bibliographical references (p. 199-205)



LRB Cover
, who died on 17 August 2010 at the age of 90, was the author of many books, includingRomantic Image(1957), The Sense of an Ending (1967) andShakespeare’s Language (2000). He was the Lord Northcliffe Professor of Modern English Literature at University College London and the King Edward VII Professor of English Literature at Cambridge University. He inspired the founding of theLondon Review in 1979, and wrote more than 200 pieces for the paper.



Frank Kermode on the horse of the Baskervilles
The Name of the Rose by Umberto Eco, translated by William Weaver
Secker, 502 pp, £8.95, October 1983, ISBN 0 436 14089 6
This book review is only available to subscribers of the London Review of Books. Subscribe now to access the full article, as well as the entire LRB archive of over 13,500 essays and reviews.
Semiotics is a fashionable subject, but semioticians do not normally become international best-sellers, which is the fate that, in apparent violation of this familiar cultural assumption, has befallen the Professor of Semiotics at Bologna, Umberto Eco. Academic novelists aren’t rare, of course, but it’s hard to think of one who regards fiction as not only entertainment but material for the practice of a professional discipline. Eco’s novel is a very complicated instance of what he would call semiosis, of the production of signs and their vicissitudes in a network of codes. It also contains many disquisitions on semiotics and related subjects. If that were all, it might be expected to give keen pleasure to a rather small audience: but it seems to go down well with a very large one. That is because it is also, for the most part, as lively and interesting as it is weird and extravagant.

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