Abstract
In 2009, in the city of Nantes, a pack of six wolves was released in a public park as part of Stéphane Thidet’s art installation. A book of short stories accompanied the event. One of the authors involved was Olivia Rosenthal, who then incorporated her story into the novel Que font les rennes après Noël? (2010), in which captive wolves are reintroduced to the city. In this post-natural environment, animals provide a semblance of the wilderness for residents, yet remain enclosed in an extended zoo designed by man – an act that domesticates both sides of the fence by separating humans from wolves. Rosenthal’s protagonist is one of such captives. Her life and the lives of animals are presented in parallel narratives. She grows up in a strictly controlled environment, and social standards are imposed on her. In a semi-autobiographical vein, Rosenthal explores issues of queer and gender marginalization as well as emancipation. At the same time, she seeks to dismantle the binary oppositions that place animals, women, and non-heteronormative persons on the other side of the fence. Relying on queer ecofeminist theory developed by Greta Gaard (1997) as well as trans-species urban theory formulated by Jennifer Wolch (1998), this paper argues that we should challenge the hierarchical approach to human and non-human life, as it silences differences and denies voice, rights, and agency to women, non-heteronormative persons, and animals. Tracing inspirations behind Olivia Rosenthal’s novel, this paper also contemplates the ethics of using live animals in Stéphane Thidet’s La Meute (2009) as well as Mircea Cantor’s Deeparture (2005) – two art installations that place captive wolves in an artificial environment.
Highlights
A blur of grey and black fur crosses the perfectly mowed grass and leaps over flowerbeds, leaving paw-prints in its wake
The wolves are, animal actors provided by the trainer, Francky Estrade, for an art installation (Klan du Loup 2009)
Relying on queer ecofeminist theory developed by Greta Gaard (1997) as well as trans-species urban theory formulated by Jennifer Wolch (1998), this paper argues that it is possible to challenge the hierarchical approach to human and non-human life, which silences differences and denies voice, rights, and agency to women, non-heteronormative persons, and animals
Summary
A blur of grey and black fur crosses the perfectly mowed grass and leaps over flowerbeds, leaving paw-prints in its wake. Olivia Rosenthal, one of the authors featured in La Meute, followed the logistics and procedures involved in bringing the pack to the castle moats, interviewing those in charge, including the wolf trainer (Cruse 2010) By incorporating these facts into her story, Rosenthal developed the basis for the novel, Que font les rennes après Noël? Wolf pups are often sold as wolfdog hybrids, while hybrids are sold as pure or high-percentage wolves to cater to demand Those who are desperate for a captive wolf or a hybrid, wish to own a domesticated animal that only appears wild (Steinhart 1996). Features a wolf pacing around a roe deer in a white room – a still from Mircea Cantor’s almost three-minute-long film Deeparture (2005), another art project with live animals confined to an artificial space and observed by a human audience. With the story of wolves “reintroduced” to the city, Rosenthal delves deeper into the problematic relationship between humans and animals inhabiting the same urban space
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
