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gate consisting of an iron or wooden grating that hangs in the entry to a castle or fortified town

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But, like Balzac's Sarrasine and Barthes's reading of it, the ambiguity of the gender is what sustains the reading.
In Barthes's well-known analysis of Sarrasine, another of Balzac's doubtful sex novels, the critic first identifies the mystery of doubtful sex as the "hermeneutic code.
As Diana Knight notes, "Appropriately, Sarrasine brings his own tragedy to its climax when his abduction of Zambinella from the French ambassador's concert [.
It bears noting also that Barthes' celebrated reading of Balzac's Sarrasine argues that in this particular work, the author undermines traditional understandings of how realism relates to extra-textual world.
As teoretiese vertrekpunt word die monument as 'n teks gelees en wel aan die hand van Roland Barthes se uitgangspunte oor onder meer die onderskeid tussen "werk" en "teks", "leesbare en skryfbare tekste" en veral die vyf kodes wat hy identifiseer in sy ondersoek na Balzac se Sarrasine in S/Z (vgl.
Interpretar significa fazer proliferar o proprio significante, uma atividade realizada, por exemplo, em pelo menos tres propostas escritas de que temos conhecimento: Roland Barthes, interpretando a novela Sarrasine de Balzac em seu livro S/Z (BARTHES, 1970); Roberto Correa dos Santos, interpretando contos em seu livro Clarice Lispector (SANTOS, 1986).
Of the French authors' influence, Balzac holds special interest because of his novella about a castrato, Sarrasine (1830).
Reduit en esclavage, il avait seduit une sarrasine qui s'etait engagee a le faire evader s'il acceptait en retour de l'epouser.
S/Z reprints Balzac's Sarrasine as the appendix to a book of annotations many times the novella's length.
Literary analysis has long identified pericopae, units that can be cut out of the larger texts in which they appear, and Roland Barthes revives an ancient practice when he designates lexias in reading Sarrasine.
S/Z is Barthes's writing of his reading of Balzac's Sarrasine, a story about intercultural and intersexual misreading of the body, about the perverse semiosis of the body that problematizes cultural constructions of gender and sexuality.
Like Balzac's Sarrasine, as discussed by Roland Barthes in S/Z (1970), the monster in this "case study" is a plural text awaiting future readings, the viewer emerging as participant in its construction.
This poststructuralist aspect of Andre's chapter hinges on her analysis of Honore de Balzac's Sarrasine, an 1830 novella centering on the legacy of La Zambinella, a fictional castrato who specialized in female opera roles.
Barthes proporciona un ejemplo de este tipo de lectura en su largo estudio del relato de Honore de Balzac, Sarrasine (3).
Coincidentally Honore de Balzac published his novella about a castrato, Sarrasine, in 1830.