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Compte rendu

Compte rendu Semiotica 18:3, pp. 253-267. © Mouton Publishers, 1976. ROBERTA KEVELSON A RESTRUCTURE OF BARTHES' READERLY TEXT* HEAD NOTE After many futile attempts to abstract from Roland Barthes' S/Z either an anatomical structure of Balzac's Sarrasine or of S/Z, as "interpretant of the tutor text", I realized that the text has no bones. It is Barthes' linguistic translation - or transposition - of the 'classic text' into a metaphor for what he terms "plastic art": the pinnacle of artistic processes. Appropriately, then, one can only 'fall into step' and attempt to follow in this act of abandonment (Barthes' term). One must assume Barthes' point-of-view, which is the "materiality of the discourse". (158) Orgiastically, in Barthes' terms, the attitude-inprocess is equivalent to the textual referent. Referent (in Barthes' sense) corresponds with perspective; both terms constitute the 'framed image'. I do not follow his procedural methods, which are explained in his Summary of Contents, because the 'methods' are so self-contradictory I am convinced they are given tongue-in-cheek. I do attempt to indicate the design fabricated in S/Z in a simple diagram - a 'design text'-- useful only for 'tying in the warp', or paradigmatic Key threads. Throughout I note reference to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique de Gruyter

Compte rendu

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Publisher
de Gruyter
Copyright
Copyright © 2009 Walter de Gruyter
ISSN
0037-1998
eISSN
1613-3692
DOI
10.1515/semi.1976.18.3.253
Publisher site
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Abstract

Semiotica 18:3, pp. 253-267. © Mouton Publishers, 1976. ROBERTA KEVELSON A RESTRUCTURE OF BARTHES' READERLY TEXT* HEAD NOTE After many futile attempts to abstract from Roland Barthes' S/Z either an anatomical structure of Balzac's Sarrasine or of S/Z, as "interpretant of the tutor text", I realized that the text has no bones. It is Barthes' linguistic translation - or transposition - of the 'classic text' into a metaphor for what he terms "plastic art": the pinnacle of artistic processes. Appropriately, then, one can only 'fall into step' and attempt to follow in this act of abandonment (Barthes' term). One must assume Barthes' point-of-view, which is the "materiality of the discourse". (158) Orgiastically, in Barthes' terms, the attitude-inprocess is equivalent to the textual referent. Referent (in Barthes' sense) corresponds with perspective; both terms constitute the 'framed image'. I do not follow his procedural methods, which are explained in his Summary of Contents, because the 'methods' are so self-contradictory I am convinced they are given tongue-in-cheek. I do attempt to indicate the design fabricated in S/Z in a simple diagram - a 'design text'-- useful only for 'tying in the warp', or paradigmatic Key threads. Throughout I note reference to

Journal

Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique – de Gruyter

Published: Jan 1, 1976

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