SPIEGEL: Mr. Eco, you are considered one of the world's great scholars, and now you are opening an exhibition at the Louvre, one of the world's most important museums. The subjects of your exhibition sound a little commonplace, though: the essential nature of lists, poets who list things in their works and painters who accumulate things in their paintings. Why did you choose these subjects?
Umberto Eco: The list is the origin of culture. It's part of the history of art and literature. What does culture want? To make infinity comprehensible. It also wants to create order — not always, but often. And how, as a human being, does one face infinity? How does one attempt to grasp the incomprehensible? Through lists, through catalogs, through collections in museums and through encyclopedias and dictionaries. There is an allure to enumerating how many women Don Giovanni slept with: It was 2,063, at least according to Mozart's librettist, Lorenzo da Ponte. We also have completely practical lists — the shopping list, the will, the menu — that are also cultural achievements in their own right.
SPIEGEL: Should the cultured person be understood as a custodian looking to impose order on places where chaos prevails?
Eco: The list doesn't destroy culture; it creates it. Wherever you look in cultural history, you will find lists. In fact, there is a dizzying array: lists of saints, armies and medicinal plants, or of treasures and book titles. Think of the nature collections of the 16th century. My novels, by the way, are full of lists.