![]() ![]() That is, the book is arguably most remarkable for its simultaneous defense of semiotics, as it cogently develops theological, philosophical, and historical investigations into the nature of “truth.” For example, the “detectives” are keen to follow the “signs” they come across and believe in the ability to “read” nature. From here, the plot develops around a missing manuscript, the second volume of Aristotle’s Poetics on comedy, and a hidden, forbidden room in the abbey’s labyrinthine library called the finis Africae.īut just as The Name of the Rose presents a book within a book, it also offers another kind of book alongside that of the novel. ![]() Here Adso introduces the reader to the fascinating tale of a week-long episode from his youth as a Benectine novice when, in 1327, he and an older Franciscan friar named William of Baskerville were engaged in solving a string of mysterious deaths in a north Italian monastery. A second prologue follows, that of the manuscript itself, written by Adso at the end of his life. The narrator expresses his hesitation in believing the authenticity of the text, as both artefact and narrative, but explains that he nevertheless decided to translate and publish it so the incredible story could be shared. The text is set up as a book within a book: it opens with a prologue by an unknown narrator who explains his discovery of a manuscript written by a 14th-century German monk named Adso of Melk. ![]()
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