(1.) As Diana Knight notes, "Appropriately, Sarrasine
brings his own tragedy to its climax when his abduction of Zambinella from the French ambassador's concert [...] is diverted into an enforced confrontation between Zambinella the model and Zambinella the statue in the sculptor's own studio" (Knight 12).
Ils lui rappelerent les futs elegants et couronnes de longues feuilles qui distinguent les colonnes sarrasines
de la cathedrale d'Arles" 8:1221) Here, the word "shudder" precedes the explanation for his startle reaction, as if the involuntarily produced memory image coincided with the very act of looking.
Ainsi Foucher de Chartres (f ca 1127) signale-t-il dans un passage celebre, comme en passant, que bien des Francs de Terre Sainte ont pris femme sur place, ici une syrienne, la une armenienne, parfois meme une sarrasine
ayant recu tout de meme la <<grace du bapteme>> (10).
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
. Textual divisions or cut-outs have their uses.
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.
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.
(8.) Coincidentally Honore de Balzac published his novella about a castrato, Sarrasine
, in 1830.
Hogle looks to Zizek, Bataille, Lacan, Kristeva, Poizot, Charcot, and Janet for insight into the origins of Le Fantome in psychological and cultural terms and to earlier fictional texts whose Gothic echoes can be felt in Le Fantome, works such as Honore de Balzac's Sarrasine
(1830) with a character 'uncannily like Leroux's Erik' (45) and Charles Nodier's 'dream-journey' (59) Smarra, or The Demons of the Night (1821).
For theorists of performance, Le roman du Hem is a gift: not only does it instantiate the performance of medieval narrative in real time, as it were, thus textualising two historicizing moments but the poem's author, Sarrasine
, 'does not draw a clear line of demarcation between the past world of Arthur and the present of Le Hem in 1278.