the likely origin of the name. Umberto's father urged him to become a lawyer, but he entered the University of Turin (UNITO), writing his thesis on the aesthetics of medieval philosopher and theologian Thomas Aquinas under the supervision of Luigi Pareyson, for which he earned his Laurea degree in philosophy in 1954. Career Medieval aesthetics and philosophy (1954–1964) After graduating, Eco worked for the state broadcasting station Radiotelevisione Italiana (RAI) in Milan, producing a variety of cultural programming. Following the publication of his first book in 1956, he became an assistant lecturer at his alma mater. In 1958, Eco left RAI and the University of Turin to complete 18 months of compulsory military service in the Italian Army. In 1959, following his return to university teaching, Eco was approached by Valentino Bompiani to edit a series on "Idee nuove" (New Ideas) for his eponymous publishing house in Milan. According to the publisher, he became aware of Eco through his short pamphlet of cartoons and verse Filosofi in libertà (Philosophers in Freedom, or Liberated Philosophers), which had originally been published in a limited print run of 550 under the James Joyce-inspired pseudonym Daedalus. That same year, Eco published his second book, Sviluppo dell'estetica medievale (The Development of Medieval Aesthetics), a scholarly monograph building on his work on Aquinas. Earning his libera docenza in aesthetics in 1961, Eco was promoted to the position of Lecturer in the same subject in 1963, before leaving the University of Turin to take a position as lecturer in Architecture at the University of Milan in 1964. Early writings on semiotics and popular culture (1961–1964) Among his work for a general audience, in 1961 Eco's short essay "Phenomenology of Mike Bongiorno", a critical analysis of a popular but unrefined quiz show host, appeared as part of a series of articles by Eco on mass media published in the magazine of the tyre manufacturer Pirelli. In it, Eco, observed that, "[Bongiorno] does not provoke inferiority complexes, despite presenting himself as an idol, and the public acknowledge him, by being grateful to him and loving him. He represents an ideal that nobody need strive to reach because everyone is already at his level.” Receiving notoriety among the general public thanks to widespread media coverage, the essay was later included in the collection Diario minimo (1963). Over this period, Eco began seriously developing his ideas on the "open" text and