Abstract
Although contemporary historical novels share a number of features with the traditional historical novel, as analysed by Lukács (1981) , they display a fundamental change in the perception of history, evident in the disappearance of the omniscient narrator, in their choice of significant and representative figures, and scepticism regarding teleology of history or the world-historical role of war and violence. On the one hand, history has become a riddle, and this is reflected in the preference for the form of the detective novel, for which the model is The Name of the Rose ( Eco 1983 ). On the other hand, there is a clear preference for two historical periods: the collapse of the ancient world and the birth of the modern from the Renaissance to the 18th century.
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