Favorite Writers Research Articles

The Road to Los Angeles: John Fante and the scene of writing

Written in the first person, The Road to Los Angeles is a posthumous novel in which John Fante addresses the topos of literary vocation for the first time through Arturo Bandini, the hero of the saga. The novel's salient aspect concerns 17-year-old Arturo who, completely captivated by his heterogeneous readings, feels an irresistible desire to become like his favourite writers. Thus, he continually envisages the scene of writing that will lead to his literary glory. This overwhelming compulsion to write induces in him a deep-set attitude of rebellion against his Catholic family and society at large. Along with his literary ambition, Bandini is obsessed by an eroticism that stimulates the most perverted fantasies in him. This article argues that Arturo's combined worship of literature and women's bodies defines a hazy territory whose effects are paralysing for his juvenile, albeit authentic, talent. Tellingly, his first attempt to write a novel culminates in an absolute failure which makes him understand that the scene of writing in which he illusorily imagines himself has no real connection with the practical organization of day-to-day life required by creative writing. Hence his abrupt decision to leave behind his family, his work at the cannery and everything else and to move to Los Angeles.

Н. В. Гоголь как художник и мыслитель в работах Д. И. Чижевского (К 130-летию Д. И. Чижевского)

N. V. Gogol was the favorite writer of D. I. Chizhevsky, whose articles have a significant place in the history of Gogol studies. It is known that Chizhevsky worked on a book about Gogol, which he never completed. The proposed research examines the issue of the concept of the writer’s personality and creativity, developed by Chizhevsky in his works about Gogol. Thus, Chizhevsky wrote about the need to create an “internal biography” of Gogol and proved the integrity of the writer’s creative personality. He explored how the writer’s religious worldview was refracted in the artistic style of his works, clearly showing the inextricable interweaving in Gogol’s creative personality as an artist and a thinker. In his works, the scientist went from researching the topic of “Gogol and the Philokalia” to the hypothesis that the writer was “a student of Bengel.” The non-confessional nature of the writer’s religious views was close to the researcher himself.

5 Questions for Li Zi Shu

5 Questions for Li Zi Shu Michelle Johnson (bio) and Li Zi Shu (bio) Click for larger view View full resolution PHOTO COURTESY OF LI ZI SHU Li Zi Shu is the author of the Taiwanese best-seller The Age of Goodbyes, now available in English translation by YZ Chin (Feminist Press, 2022). Q YZ Chin's translation of The Age of Goodbyes is your first book available in English and the first time a novel by a Malaysian woman writer working in Chinese will appear in English. What do you make of these milestones? A As a matter of fact, there are very few novels you could find in Malaysian Chinese literature. The current environment has never been supportive. Not only that Chinese, as a language commonly used for generations in Malaysia, is not officially recognized, but our literature also has been marginalized in the Chinese-speaking world. For decades, Malaysian writers who work in Chinese have been struggling to survive on a small readership, low pay, and very limited space for publication. To work on novels is simply unrealistic. It is also true that the number of women writers was relatively small in the past, so it is not surprising that I could be the first Malaysian woman writer—after twenty-five years of my career—who gets her Chinese novel translated and published in English. However, I must admit that I had never thought of expanding my readership beyond the Chinese-speaking world—not even to Malay readers, until YZ Chin, the translator of The Age of Goodbyes, brought up the suggestion. I and my peers in Malaysia who write in a marginalized language have worked so hard trying to be seen and recognized. I am glad and excited that my work could be the first step we take to go out into a wider literary world. Hopefully, it will draw the attention of more readers to Malaysian Chinese literature. Q You are known for daring experimentation with form. For instance, The Age of Goodbyes begins on page 513. Are there other writers who have inspired you in this regard, or are you working against what you've read? A I was considerably young at the time I wrote The Age of Goodbyes, and [End Page 34] absolutely a beginner as a novelist. Like most young people, I was fond of exploring, easily fascinated by forms and techniques, and courageous enough to play with all kinds of perceptible, even tangible devices, such as formal and linguistic methods, in order to explore the possibilities of novel writing. Jorge Luis Borges and Italo Calvino were my favorite writers; they still are. It was almost impossible for me to resist the charms of their works and not be influenced by their ideas of construction of human society and the world. In fact, it was only after I finished The Age of Goodbyes and had learned from the experience that I began to gradually develop my own ideas of form. From the first novel to the second (Worldly Land), which came out two years ago, I had been pursuing—at a higher level, I believe—a new approach to fiction writing that is less formal and technical. Not that I care less about form now, I just think that I should be capable of integrating form into narrative, instead of using form to shape a novel and pouring narrative into it. Q Would you tell us a little about The Age of Goodbyes? A The novel was written in my late thirties. I was so determined to write a novel at that time. For many years before I had written only short stories, or flash stories, as they were easier to get published, and it was a quicker way for me to earn a living. Right before I turned forty, I decided to write a novel, setting it as a career challenge to explore more possibilities of fiction writing. I chose to tackle a subject I was most familiar with, which was the changes of the Chinese community in Malaysia. The story begins on May 13, 1969, the day an incident of ethnic conflict took place, namely the 513 incident (May...

Bisognerebbe fare qualcosa: Interview with Lora Guerra

In this wide-ranging interview, Lora Guerra talks of her meeting and marrying Tonino Guerra; of Guerra’s relationship to Russia, Lora’s homeland; of Tonino and Lora’s relationships with Michelangelo and Enrica Antonioni, Federico Fellini and Andrei Tarkovsky, among many others; of Guerra’s international interests beyond Russia; of his favourite writers; his years in Rome and his move back (with Lora) to Romagna in the 1980s; his methods of collaboration with different directors; his environmentalism, particularly in his later years; the nature of his art and vision – ‘peasant’ despite its cosmopolitanism.

Zachodnie nowinki na wileńskiej prowincji – wpływy niemieckich poetów na ballady filomatów

The article describes the influence of foreign, mainly German, literature on the ballads of the Philomaths – Tomasz Zan, Jan Czeczot and Adam Mickiewicz. The inspirations, references, and transformations of literary themes taken from German poets are presented in chronological order. The article begins with the answer to questions: why and how Zan used Lenora by Gottfried August Bürger in Neryna and Twardowski (common character and versification, intensifying the mood of horror). The full image of foreign references in this poet's work is completed by his version of Arion, based on the literary work by August Wilhelm Schlegel. Philomath used the character of a hero from Hellas, but he presented his fate in a dramatically condensed way. All these references lead to the conclusion that Zan transformed foreign threads in his own way, treating this activity as an exercise in his literary technique. A similar approach was shown by Jan Czeczot, who focused on native themes – but he added a large dose of humor, which was characteristic also of the most outstanding philosopher-writer, Adam Mickiewicz. The author of Ballady i romanse included in his collection a free translation of Friedrich Schiller’s Rękawiczka. He gave up the local color in it, creating a more “homely” version. In Świtezianka and Pierwiosnek, Mickiewicz referred to Johann Wolfgang Goethe. Świtezianka refers to Rybak with the motif of a fantastic figure emerging from the water. Pierwiosnek, like Fiołek, contains the lament of a metaphorical flower addressed to an insensitive lover. An analysis of Mickiewicz's references to his masters shows that this poet, like his friends, treated ballads as poetic exercises. He wanted to challenge his favorite writers. At the same time, these references confirm his manifestation of creative freedom. It turns out that the philomath ballads share the same approach to creation in this genre, which has been found in the example of transformations of material taken from foreign literature.

The Sociology of Science Fiction and Fantasy: Monitoring Within Science Fiction and Fantasy Studies Classes at Lomonosov Moscow State University

The publication is the final part of the research dedicated to the analysis of the results of written works made by the students of inter-faculty courses of science fiction and fantasy studies undertaken at Lomonosov Moscow State University during 2013–2020. In the previous articles we provided statistical data on the students’ composition, summarized information about their favorite writers and books of science fiction and fantasy as well as about preferred types of such a literature; summarized students’ remarks about under what circumstances their interest to science fiction and fantasy has been emerged. In this publication we introduce the students’ considerations on future and also on books of science fiction and fantasy the students are planning, may be, to write themselves.

Calila: The Later Novels of Carmen Martín Gaite by Joan L. Brown

Reviewed by: Calila: The Later Novels of Carmen Martín Gaite by Joan L. Brown Olga Bezhanova Brown, Joan L. Calila: The Later Novels of Carmen Martín Gaite. Bucknell UP, 2021. Pp. 189. ISBN 978-1-684-48305-1. In a writing style that echoes Martín Gaite’s limpid prose, Joan L. Brown delivers in Calila: The Later Novels of Carmen Martín Gaite a tour de force that makes a case for reading and studying the novels that the author published throughout the decade of the 1990s. For Brown, Martín Gaite was not only a favorite writer and a subject of research but a close friend, and in Calila the readers are treated to a critical perspective that is informed, yet not overshadowed, by the profound personal attachment between the two women. ‘Calila’ was the writer’s nickname used by those to whom Martín Gaite awarded “the gift of intimacy” (147), and as a member of the author’s inner circle, Brown offers insights into her writing that are rooted in personal correspondence and shared experience. Still, the biographical never overshadows the critical in Calila, and Brown’s discussion of each of the six novels constitutes a valuable addition to the existing body of scholarship on these texts. Brown begins the book by pointing out that it took her a while to gain enough critical distance from Martín Gaite’s later novels to be able to write about them as a scholar and not as a [End Page 136] friend (3). The introductory chapter offers the readers a brief yet crucial overview of the writer’s life and career until the publication of Caperucita en Manhattan (1990), Martín Gaite’s first novel of the 1990s that ended a twelve-year break in the author’s novelistic output which had begun after the publication of El cuarto de atrás (1978). Brown dedicates a chapter to each of the novels that Martín Gaite wrote in the 1990s, Caperucita en Manhattan, Nubosidad variable (1992), La Reina de las Nieves (1994), Lo raro es vivir (1996), Irse de casa (1998), and Los parentescos, an unfinished novel that was published posthumously in 2001. The chapters are brief, yet densely packed, suggesting a wealth of possible venues of research. Brown deftly teases out the thread that unites these different and complex works of fiction, stating that “though techniques vary, these novels are unified by an enduring theme: the search for identity and meaning through examination of the past, in order to attain a brighter future” (4).The critical perspective that Brown offers in Calila allows the readers to appreciate each of the six novels in their uniqueness while, at the same time, seeing them as part of a singular creative journey of a brilliant writer. At times, Brown relies excessively on terms such as young adult literature and third-wave feminism, that have greater validity in the United States than elsewhere. She is justified in her insistence that Martín Gaite’s Caperucita en Manhattan deserves more critical attention than it has received, yet the idea that this will be achieved by categorizing the novel as belonging to the young adult genre rather than children’s literature remains somewhat unconvincing. The critic’s efforts to make the book relevant to non-specialists are successful, and she strikes a delicate balance between offering the critical insights that scholars of literature who are well-familiar with Martín Gaite’s work will find of use and, at the same time, integrating historical and political background information that can guide novice readers of the writer’s novels. Understandably, some imprecisions and redundancies are bound to creep into an ambitious project like Calila. To give an example, Brown refers to Franco’s tomb in the Valley of the Fallen as “an anomaly in Europe” (83), forgetting that Lenin’s Mausoleum in Moscow has been open to the public for almost a century and still constitutes an important tourist attraction in Russia. The information that the father of Martín Gaite’s only child Marta was the writer Rafael Sánchez Ferlosio is repeated several times in the text, and so is...

Poe in Cyberspace: The First Amendment, Antitrust Law, and an Internet Rhubarb

Poe in Cyberspace: The First Amendment, Antitrust Law, and an Internet Rhubarb

Building Worlds, Losing Friends

Building Worlds, Losing Friends

Pioneers in Dermatology and Venereology: an interview with Professor Ricardo Luis Galimberti.

Pioneers in Dermatology and Venereology: an interview with Professor Ricardo Luis Galimberti.

“As Truthful as Our Notion of the Past Can Ever Be”: William Maxwell, His Ancestors, and Alice Munro’s The View from Castle Rock

Beginning in the mid-1980s, Alice Munro drew attention in interviews to her rapt admiration for the work of William Maxwell, a writer she has called “my favorite writer in the world.” The two were not close, although they met a few times through their shared association with the New Yorker. In 1988 Munro published an appreciation of Maxwell’s work and, after his death in 2000, agreed to revise it for a tribute volume published in 2004. During those years too, Munro was at work on a family volume she had long contemplated, The View from Castle Rock (2006), one that was inspired in part by and modelled on Maxwell’s Ancestors: A Family History (1971). This article examines the Maxwell-Munro crux as an example of the dynamics of authorship; it is an important example of two compatible writers who, throughout their careers, created narrative rooted in the very stuff of their own experience in place and time—whether seen as fiction, autobiography, or memoir. Each did so in ways that accentuate, for the critic intent on analysing authorship, the play of the past in shaping of any narrative.

Твори Джона Щешки про Франка Ейнштейна як варіант літературної гри культурним спадком

The article is dedicated to the study of the literary mirror game with the cultural heritage in the Frank Einstein books by Jon Scieszka. The Frank Einstein books were first translated and published in Ukraine in 2019. This article is the first investigation of the Frank Einstein series by J. Scieszka as a literary game. Six Frank Einstein books (“Frank Einstein and the Antimatter Motor” (2014), “Frank Einstein and the Electro-Finger” (2015), ‘Frank Einstein and the BrainTurbo” (2015), “Frank Einstein and the EvoBlaster Belt” (2016), “Frank Einstein and the Bio-Action Gizmo” (2017) and “Frank Einstein and the Space-Time Zipper” (2019)) demonstrate vivid examples of the literary game in the contemporary children’s literature from the positions of the author as a game creator and the reader as a game opponent. J. Scieszka was born in 1954 in Flint, Michigan, USA. The future writer received a varied education. He attended the military academy, then studied English and pre-med at Albion College for his B.A., and in 1980 received a master's degree of Fine Arts in fiction writing at Columbia University. After graduation J. Scieszka worked as a teacher at an elementary school. Teaching schoolchildren, Jon re-discovered how smart they are. School children turned to be the best audience for the weird and funny stories he had always liked to read and write. The books by Jon Scieszka are based on recognizable archetypal plots and iconic characters, which are not presented to the reader in a conserved form, but focused on the current stage of culture and science development. The writer cheerfully and humorously manipulates well-known plots, rewrites established ideas, and interprets familiar literary themes, motives, characters, etc., presented in world-famous science fiction, well-known to the modern young reader. J. Scieszka says that he got his ideas from other books, his kids, kids he had taught, kids he had learned from, watching movies, playing with his cat, talking to his wife. He also includes allusions to his favourite writers – Cervantes, Kafka, Borges, Pynchon, Sterne, Barth, Heller (Scieszka, 2014). J. Scieszka uses a repertoire of prominent scientific and literary samples in his work, such as the character of the scientist Frankenstein by M. Shelley and the theoretical physicist Albert Einstein, the inventor and businessman Thomas Edison, a fictional character Dr. Watson in the Sherlock Holmes stories by Sir Arthur Conan Doyle, the primatologist Jane Goodall. There is a mechanism of mirror doubling in the system of characters: Frankenstein and Frank Einstein, Albert Einstein and Al. Einstein, Klink and Klank, and the complex mirror refraction of Frank Einstein and Watson as Sherlock Holmes and Dr. Watson, Frank Einstein and T. Edison as Sherlock Holmes and Professor Moriarty. The article analyses the well-known literary and scientific achievements that acquire a mirror replay in the books about Frank Einstein. The researcher concludes that the books by J. Sciezska are a source of vivid emotional experiences and motivation for serious readers’ reflection. The author of the article draws attention to the fact that the play field created by J. Scieszka is a product of accumulated cultural content, which activates the human tendency to imitate, assimilate and repeat. This game is a form of conscious assimilation and processing of the universe of intangible and material artifacts, objectified actions and relations created by mankind in the process of mastering nature.

The Philosophical Attitude of Eugene Hütz, Singer of Gogol Bordello

The Philosophical Attitude of Eugene Hütz, Singer of Gogol Bordello

Editor's Column: “I set this matter down … to inform myself”: Steinbeck's Travels with Charley in Search of America as Private Discourse

Editor's Column: “I set this matter down … to inform myself”: Steinbeck's <i>Travels with Charley in Search of America</i> as Private Discourse

Sexual Ethics and Stoic First Movements in A Sentimental Journey

This essay argues that Laurence Sterne uses the Stoic theory of first movements to defend sexual feeling in A Sentimental Journey. In support of this thesis, the essay provides a short overview of Stoicism in eighteenth-century Britain, expounds the Stoic theory of first movements and its reception in later European thought, shows the presence of the theory in some of Sterne’s favourite writers, and provides a reading of ‘The Conquest’, the key chapter in Sterne’s defence of sexual desire.

Intermedial Specificity of Illustrations by I.S. Glazunov for the Works by F.M. Dostoevsky

The article explores illustrations by I.S. Glazunov for the works by F.M. Dostoevsky in terms of intermediality. This up-to-date method allows us to consider the area of different kinds of art as an open information field, connected by various communication channels, «media». This method promotes deep analysis of the illustrations, their holistic interpretation and perception. Dostoevsky is Glazunov's favorite writer; it was precisely his works that the artist most often referred to in his illustrations. However, not only his skills as a graphic artist, but also his ideological closeness to the artist in words makes Glazunov’s illustrations so valuable. In his works, Glazunov tried to embody not only literary images, but also to convey the writer's philosophy, including the well-known idea of «universal responsiveness». The artist sought to convey the intention of Dostoevsky’s characters through experiments with color and chiaroscuro, as well as using the sauce and pastel technique, which made it possible to convey expressiveness and tension through certain incompleteness and sketchiness of the illustrations created by Glazunov.

STUDENTS’ PERCEPTIONS ON WATTPAD IN READING IN ENGLISH DEPARTMENT UNIVERSITAS BANDAR LAMPUNG

In the development of technology, reading can be obtained both from books and other media like handy smartphones. One application that can be used as a reading source, social and entertainment medium at once is Wattpad application since Wattpad is not only as simple as reading platform but it also facilitates the readers to directly connect with other readers and their favorite writers. Wattpad may encourage the taste of reading especially extensive reading or reading for pleasure. Therefore, Wattpad is multifunctional medium that may enhance educational performance, social engagement, and personal development. This research aimed to explore the students’ perception on Wattpad in reading. The sample of this research was all students of English Department of Universitas Bandar Lampung who used Wattpad as the reading platform. They are from first until thirteenth semester. This research applied qualitative design with descriptive qualitative method. The data were collected through two instruments: questionnaire and interview. The result indicated that most students have positive perceptions on Wattpad in reading especially in enhancing their vocabulary.

From Literary Fiction to Music: Schumann and the Unreliable Narrative

The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann draws inspiration from Jean Paul's novel Flegeljahre, surely capturing something of the author's unreliably quirky literary style, in part through the strategy of tonal pairing. Whereas Schumann ultimately played down the programmatic elements of Papillons that trace back to the unpredictable Jean Paul, a genuine instance of the unreliable narrator is Heine's troubled poet-persona in Schumann's Dichterliebe. Here the composer invites us to perceive a second persona through the voice of the piano—one that understands the poet better than he does, and whose music reveals from the outset that rejection in love lies ahead. The emergence of narrative unreliability in fiction may have served as an influence that drove experimentation not only for Schumann but also for some of his contemporaries and successors. Debates about musical narrativity might profit from considering the recent literary concept of a “feedback loop,” in which the author, the narrator (text), and the narratee (reader)—in our case, the composer, the performer, and the listener (including analysts, performers, and composers, who are also intensive listeners)—continually and recursively interact.

National Electronic Children’s Library: A Living History of Russian Children’s Literature

National Electronic Children’s Library: A Living History of Russian Children’s Literature Ilya Gavrishin (bio) Translated by Sofia Kazakova The civilian font introduced in Russia in 1708 by Peter the Great for printing secular publications opened the way for literature as a leisure activity. But the creation of literature specifically intended for children took almost another half century. By the end of the eighteenth century, the number of publications for children in Russia was estimated at three hundred. More than 75 percent were translations, mainly from French and German. The dominant genre was moralizing and took the form of a conversation between one of the elders and the children, which often turned into a sermon. The most important influence on Russian children’s literature was exerted by N. I. Novikov, when in 1779 he moved to Moscow and began to publish books for children, among other publications. Only under the influence of his work did the Russian book became not a luxury item but a necessity for every literate person. However, the main merit of the publisher regarding children’s literature was the publication in 1785 of the first children’s magazine, which had no foreign counterparts—Children's Reading for the Heart and Mind. After Novikov, the tone of children’s literature began to change. The desire to teach was gradually replaced by the desire to spread the ideas of enlightenment through fun. Fables were particularly developed in children’s education through such fabulists as I. A. Krylov and I. I. Chemnitzer. By the middle of the nineteenth century, the profession of writing for children appeared and the number of translated books decreased as works in Russian became more prominent. Children’s books and magazines became an indispensable educational tool, the literary qualities of works for children were improving significantly, and the design of children’s publications was developing rapidly. Black-and-white prints appeared in books and magazines, then color illustrations. Printing and publishing houses were formed, some of which survived the 1917 revolution. These were the publishers of Sytin, Stupin, Wolf, Devrien, and Sablin. All major publishers produced books that were available to buyers with all levels of income. Books with illustrations by famous Russian artists—Vasnetsov, Polenova, Bilibin, and others—are still being reprinted. [End Page 72] Literature for children of the post-revolutionary period acquired fundamentally different features, boldly experimenting with the language and design of books. Some authors and artists of the children’s books of that time went down in history—such as Marshak, Chukovsky, Mikhalkov, Harms, Mayakovsky, Barto, Bianchi, Gaidar, Lebedev, Konashevich, Dobuzhinsky, Petrov-Vodkin, Rotov, and Charushin—but most creators of books for children and teenagers of that time are forgotten. Soviet power quickly realized the importance of periodicals in the development of class consciousness. In 1925, the publication of the all-Union children’s newspaper Pionerskaya Pravda began. This was a weekly snapshot of world and Soviet history, which is especially interesting to study today. From 1924 to this day, the magazine Murzilka has been published; from 1930 to June 1941, the magazine ChIZh; and since 1936, the magazine Koster. An important role in improving the quality of children’s literature was played by the literary criticism journal Children’s Literature, published from 1936 to 2004, with a break from 1942 to 1965. During World War II, much children’s literature was published, including propaganda literature (for example, Blitz Fritz by Marshak with illustrations by Kukryniksy). Since the late 1930s, filmstrips have been incredibly popular in the USSR. The huge variety and quality of material performance are fascinating; filmstrips were drawn by famous illustrators such as Losin, Chizhikov, Arkhipov, Diodorov, Duvidov, and others. These include folk tales (more than twenty-five peoples of Russia, more than thirty peoples of the world) and author’s tales (Pushkin, Bazhov, Grimm, Perrault, Andersen, Gauf, etc.), filmstrips based on the stories and poems of favorite writers, filmstrips about the war, and filmstrips that were both cognitive and entertaining. This very brief excursion into the history of Russian children’s literature is not accidental. The National Electronic Children’s Library (NECL) provides access to publications of all the above eras and types. For...

Incursión en la ecocrítica francófona: estudio de una novela quebequense a través del devenir-animal

En este artículo, se cuestiona cómo la biología y la filosofía pueden aportar nuevos puntos de vista para pensar la literatura. ¿Es ésta una perspectiva plausible, productiva? Para explorar esta problemática, basé mi análisis en la teoría filosófica del devenir-animal (Deleuze y Guattari, 1980). Este concepto visibiliza el deseo de transformación y su proceso. Para llevar a cabo este proyecto he indagado en la obra del quebequense Robert Lalonde titulada Le monde sur le flanc de la truite: notes sur l'art de voir, de lire et d'écrire (El mundo sobre el costado de la trucha: Apuntes sobre el arte de ver, leer y escribir). Estructurado alrededor de las cuatro estaciones del año, el relato del escritor propone un diálogo entre los pasajes de sus autores favoritos y los devenires que le inspira la vida en el campo. En un bosque canadiense, su vida cotidiana transcurre entre la naturaleza y la lectura. Aislado, el escritor mestizo pone en valor la presencia de los animales y se vuelve el nexo entre unos elementos heterogéneos, por ejemplo, emparejando fauna y autores en esta narración inspirada en su ascendencia mohawk. Una multiplicidad de universos se solapa en la obra de Robert Lalonde, y la mayoría de estos medios borran las fronteras entre lo humano y lo animal. A través de la escritura, el autor toma varias formas de vidas no humanas prestadas para adaptar sus percepciones (intensidad, potencial, velocidad, capacidad, etc.) en otro entorno en el cual algunos elementos cambian. El análisis del libro de Robert Lalonde partiendo de la teoría del devenir-animal permite, de este modo, pensar la relación heterogénea que se da entre el entorno y el lenguaje. Así, la idea del entorno no se limita al animal: se abre también al lenguaje, a la traducción y a las transferencias culturales.