翁貝托．埃科的學術著述，小說創作自1980年代進入國大陸以來，已歷經近三十年的「文本旅程」。《玫瑰的名字》作為埃科的首部小說創作實踐，曾因其涵蓋知識的廣博，美學層次上的豐富，混雜等特徵在1990年代被北美學者評價為「後現代主義」之創作。事實上，早在1980年代初期，埃科就以「符號學權威」的形象出現中國大陸地區的學術論述與相關評論中，然而，混亂的譯名，界定不清的學術身份，使譯入語地區的接受者們無法將目光準確地聚焦於特定的認知對象上，此後，當《玫瑰的名字》在北美地區暢銷的訊息傳入中國大陸後，小說的兩版漢譯本終在1980年代中後期應時而生，然而，由於必要的理論知識空缺，文藝話語空間的飽和，漢譯版不得不在出版編譯時對源語文本進行了一定程度的改編，以便被地語境相容，於是，作品在增添引導式的介紹或在對贅餘部分的節略中，不得不褪去它「後現代主義」小說的文本特質，以便承襲「偵探小說」敘事翻譯脈絡，從而被改寫爲一部通俗性質類型化文本以滿足讀者對作品的奇觀性與故事性需求。
Umberto Eco's works have been introduced into mainland China for almost three decades .The Chinese version- of the Name of the Rose was firstly published in 1987 after its tremendous success in North American. In the early 1980s, ＂Umberto Eco＂ was familiar to readers of mainland China as an academic authority in Semiotics. However, his translated name and identities always led to a confusion when people hoped to relate ＂Umberto Eco＂ with its referent. Besides, given those paradoxical comments made by the readers of North America, the novel had to confront to entirely different context in new land. Beginning with those unsatisfactory voices came from the native critics, Chinese versions were rewritten in appropriate ways for ＂model readers＂. Translation strategy, such as deleted Latin and omitted ＂real ending＂, were used to confront the native situation. Because in the 1980s, the literary discourse was occupied by political declaration, and the translators were difficult to decipher the code buried in the texts without semiotic theory. Eventually, the ＂Postmodernism＂ novel had to inherit tradition of detective novel and be transcribed into a mass reading in purpose to cater to readers' desire.