Eco would have found this reading in, for example, the standard text edited by H.C. Hoskier (London 1929); only the Hiersemann manuscript preserves "Roma". For the verse quoted in this form before Eco, see e.g. Alexander Cooke, An essay on the origin, progress, and decline of rhyming Latin verse (1828), p. 59, and Hermann Adalbert Daniel, Thesaurus hymnologicus sive hymnorum canticorum sequentiarum (1855), p. 290. See further Pepin, Ronald E. "Adso's closing line in The Name of the Rose." American notes and queries (May–June 1986): 151–152.
As Eco wrote in "The Author and his Interpreters"Archived January 1, 2008, at the Wayback Machine "Thus the title of my novel, had I come across another version of Morlay's poem, could have been The Name of Rome (thus acquiring fascist overtones)".
As Eco wrote in "The Author and his Interpreters"Archived January 1, 2008, at the Wayback Machine "Thus the title of my novel, had I come across another version of Morlay's poem, could have been The Name of Rome (thus acquiring fascist overtones)".
Peters, Edward (1988). Inquisition. Berkeley: University of California Press. pp. 60, 307. ISBN0520066308. OCLC18683092.
Ganim, John M. (2009). "Medieval noir: anatomy of a metaphor". In Bernau, Anke; Bildhauer, Bettina (eds.). Medieval film. Manchester: Manchester University Press. pp. 198–9. ISBN9780719077029. OCLC313645262.
worldofspectrum.org
"Nomen Rosae". World of Spectrum. Ignacio Prini Garcia.
