Semiotics, the area of expertise for Eco, significantly influences the ideas he uses to build his novel. Semiotics is the study of signs, sign systems, and the interpretation of meaning. Within any given culture, signs can be practically anything that conveys information. Generally, signs are conventional, meaning they are understood by those familiar with the implicit codes behind them. For example, in American culture, a kiss as a greeting indicates a close and personal connection. On the other hand, men rarely kiss each other but may embrace and pat one another on the back. In contrast, in France, even strangers might greet by kissing each other on both cheeks. To those who comprehend these signs, the message is clear.

The Name of the Rose is essentially a story about signs, including religious, political, and social signs, among others. William takes pride in his skill at interpreting signs; yet, his mistaken belief that the murders followed an Apocalyptic pattern demonstrates how a flawed initial assumption can lead to a complete misunderstanding of events. In such cases, the signs remain present, but they lose their meaning due to the absence of an underlying system. Likewise, the novel’s title is cryptic and intriguing because it defies a single interpretation of the sign “rose.” As Eco notes in the “Postscript,” “the rose is a symbolic figure so rich in meaning that by now it hardly has any meaning left. . . . The title rightly disoriented the reader, who was unable to choose just one interpretation.”