Identity in an existential approach to the problem of remembering andįorgetting. Yambo, the protagonist of La misteriosa fiammaĭella regina Loana, has lost his memory and tries to rebuild his This goes hand in hand with a re-installation ofĪuthor and narrator. In contrast, Eco's later novels Baudolino, La misteriosaįiamma della regina Loana and Il cimitero di Praga can be considered a Intentions that Eco introduces in I limiti dell'interpretazione. Theoretical concepts of the author's, reader's and text's L'isola del giorno prima is closely associated with the Belbo, an author-character in II pendolo diįoucault, is killed during the plot-a very vivid way of illustratingīarthes' idea of 'the death of the author' (Barthes,ġ994). Rosa is less a first-person-narrator who tells his individual story thanĪ 'writer' (in terms of Barthes, 1994: 492) who combines Pendolo di Foucault and L'isola del giorno prima: the Instead, I will focus on one of them, crucial also for II
Various aspects that have been called postmodern will not be revised inĭetail. 'postmodern' to describe Eco's way of narration. Rosa, there was hardly a review of the novel that did not use the term Instances that had been put into question by Eco's earlier novels.Ĭontemporary literature, historical novel, literary theoryĪfter Umberto Eco had entered the literary scene with II nome della Hand with a re-installation of author and narrator, the literary Historical novel that highlights chances and limits of historiography.Īt the same time, it illustrates a return of narrative that goes hand in This, La misteriosa fiamma della regina Loana stands in contrast to a
Nome della rosa and II pendolo di Foucault consider the idea of a Although striking examples of 'theory-aware' texts, II
Semiotics, interpretation, and deconstruction-but also with ontological From II nome della rosa onwards,Įco does not only deal with questions of (literary) theory-such as
In this article, Umberto Eco's novels will be analyzed as
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