In this article I have attempted to use Umberto Eco’s semiotics of the text in order to analyze the famous “parable of the banquet,” which has come down to us in three versions from the gospels of Luke (14,15–24), Matthew (22,1–14) and Thomas (logion 64). In particular I have tried to consider (i) the socio-cultural context, or in other words the Sitz im Leben of the community within which the parable was written; (ii) the narrative structure of the parable, with the narrative nodes that stimulate the reader to cooperate in the work of interpretation and to draw inferences; (iii) the way in which the Model Author is portrayed in the text; (iv) the kind of Model Reader who is prefigured in the parable. The analysis has shown how in the parable of the banquet, the original level (deriving directly from the preaching of Jesus) characterized by a salvationist and social slant is always overlaid with another level that is hortatory, pedagogical or ecclesiological, and which takes on different connotations according to the different contexts. Generally the Evangelists are suggesting to their communities that they make changes in their behavior ranging from renunciation of wealth to the resetting of social ties, from a stance of constant vigilance to the practice of an active faith, from healthy detachment from worldly frivolity to a rigorous asceticism. Thus the editorial layers reveal differing narrative nodes in function of particular interpretative responses, different Model Authors and different Model Readers.
In this article, I attempt to set out and discuss the main trajectories of Umberto Eco’s thinking on the media and mass communication, based on a review of the author’s writings on these subjects. What emerges from the study is Eco’s attention to the public and to forms of reception; his attention to the relationship between media communication and reality, which involves investigating the concept of “truth” in an area such as that of mass communication; his cross-media view of information, seen from a pluralistic and polyphonic viewpoint; the ethical tension that is always present in Eco’s work; his unfailing propensity for teaching. What emerges above all is the way in which the theoretical and practical tools used by Eco were developed in the context of reflections on the media and mass communication: an indication that alongside its “philosophical vocation,” Eco’s semiotics was always characterized also by an essential “empirical vocation.”
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