470 Reviews on a particular aspect of post-Lachmannianism, the nature and frequency of bi partite stemmas ('Additional Materials A. [Final Remarks on Bipartite Stemmas]', pp. 207-15; the Italian original is inBelfagor, 6i (2006), 452-65). Despite itsbeing an unpolished torso, this isTimpanaro at his best. He concedes defeat with unreserved frankness, and yet keeps on discussing with no hidden intent to reverse the already accepted verdict, but rather to clarify, to the best of his knowledge, the ramifications and implications of the complex argument. A lesson tobe learnt. DURHAM UNIVERSITY AND UNIVERSITA DI SIENA CARLO CARUSO Ecrire l'animal aujourd'hui. Ed. by LUCILE DESBLACHE. (Les Cahiers de Recherche du Centre de Recherches sur les Litteratures Modernes et Contemporaines) Clermont-Ferrand: Presses Universitaires Blaise Pascal. 2oo6. 287 pp. E20. ISBN 978-2-845I6-308-9. Allegedly helpless kittens at one extreme, and sharks at the other: animals evoke in us humans a complex range of emotions from tenderness to terror.To a farmer,of course, they signifymainly a living from food,work (beasts of burden or traction), or they require extermination. All animals are equal, but some aremore equal than others. (No contributor to thisvolume mentions Animal Farm.) How can carnivorous humans be other than ambivalent about the slaughter of animals? Some might protest cruelty en route to the abattoir.More fundamentalist protesters murderously assert animal rights,or, ifphilosophically inclined, indict speciesism. In her preface, the editor of this collection, Lucile Desblache, draws a line be tween the older tradition (reduce your own beastliness by focusing on beasts) and the contemporary 'Recognize your animality'. Either tactic uses animals forour pur poses. Can anyone write realistically, scientifically about animals without implicitly conveying an ethical, political, or other pointed message? Try a turnaround. Alain Montandon's leisurely analysis of some animal-fantasy stories byHaruki Murakami suggests that theuncanniness of theweird beasts represented there isultimately de feated by the sheer banality, the vacuum, of the human world: a nice twist on the toposwhich classically argues the opposite proposition, thevictory of theunusual. For Veronique Leonard-Roques, John Steinbeck's Travels with Charley and Paul Auster's Timbuktu exploit animals (dogs) as distancing agents. Auster's dog is cre dited with 'un regard de Huron' (p. 44), though itdoes not attain the Martian's-eye perspective of the canine inQueneau's Le Chiendent. Anthropomorphism rules, per haps inevitably, forhow can we know, except in terms of pleasure or pain, fear or aggression, how an animal is reacting toour interventions?Though many people talk to animals, how many believe they are trulygetting through? So animals are stand ins.Although inFrench stupidity and animals are inextricable (bete,betise,betifier-to talk asininely), though there are dogs and underdogs, inboth these authors the dogs are equal picaresque heroes, and lend themselves to pointed humour. Steinbeck re cycles Don Quixote, with Charley reprising the lowly but wise Sancho Panza. Few contributors address thequestion of sentimentality, corniness. In a rarepaper on the comic potentialities of animals, Isabelle Rabadi writes spiri tedly on the ludicworld-upside-down of Eric Chevillard, where animals come more fully into theirown by takingover fromdownsized humans. Those creatures thatbite offa limb to escape a trapput people docilely handcuffed to a gendarme in the shade. Of course, verbal games are quintessentially human: nobody claims that chimps or whales pun. Nevertheless, Isabelle Ribadi persuasively salutes Chevillard's celebra tion of the elastic resources of language. She quotes hiswitty comment: 'J'aime bien les animaux, ce sont de droles de zebres, de droles d'oiseaux' (p. I04). MLR, I02.2, 2007 47 I Anne Tomiche takes the nightingale inRomantic poetry (English, French, Ger man), which has been linked since antiquity with artistic creation, and investigates how some recent poets displace, play with, or subvert this commonplace. Thus Jacques Reda privileges themaddening, rattling snigger of themagpie, and Ted Hughes the harsh cawing of crows. For Tomiche, both poets, while anti-lyrical, re main Romantics. There is a bridge paper on mermaids, by Catherine d'Humieres, and another by Anne Wawrzyniak on Angela Carter's dystopian, gastroporn The InfernalDesire Ma chinesofDoctor Hofman. This textattacks the systematic exploitation of animals, and ofwomen, bymen; itcauses hybrids toproliferate, as theboundaries between humans...
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