ARSCOMBINATORIA IN THE NOVEL “THE NAME OF THE ROSE” BY UMBERTO ECO
Authors: Emine Shabani
Number of views: 489
The difference between modernism and postmodernism is difficult to make, but we take as a reference the hypotheses of well-known literary theorists and critics like Terry Eagleton, Pavao Pavliçiç, Roland Barthes, Michel Foucault, Jacques Lacan, Gerard Genette, TzvetanTodorov, JurijLotman Julia Kristeva, MiekeBaletc, a hypothesis of the canadian theorist Linda Hachion, as far as my opinion is concerned is very straightfoward and rational, as far as the definition of postmodern art is concerned, where she sees it as a field where the presence of the past in context of the critical reflex over it, dominates. The poetics of postmodernism is the result of the concept of the domination of irony, the contraverse role, great aesthetic, ideological, substantial paradoxes, the post-modern work of art as such represents a subversive and contraversial phenomenon, that builds and ruines the same phenomena it provokes and raises. Unlike previous currents of art, in postmodernism we have the elements of idelogical and gender movements. Postmodernist writers are: Borges, Marquez, Buzzati, Umberto Eco etc. And it is Umberto Eco’s “The name of the Rose” (Ilnomedellarosa) that is the subject of my study, with a new substantial, ethical, aesthetic, ideological, religious form. In the epilogue of the novel Eco uses the phrase “revisiting tradition” because the past, according to the author cannot be undone but it rather needs to be revisited with irony and not innocence, to highlight the dissension within the head of the church, that in the name of triumph of an idea crimes are commited in an abbey and the epicenter of the occurences is the library rich in ancient and modern texts...
The references of our study were libraries, interviews, newspapers, raports and studies published in the internet as well as scientific journals.