By David Herman
Examining how principles approximately species, sexuality, and gender hyperlink to twentieth- and 21st-century literary texts, this wide-ranging choice of essays explores the complex but evocative courting among animals and people inside of a literary context. individuals talk about writers like Franz Kafka, J. R. Ackerley, and Yann Martel, writer of lifetime of Pi.
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Extra info for Creatural Fictions: Human-Animal Relationships in Twentieth- and Twenty-First-Century Literature
DePauw University. Online journal. Kafka, Franz. The Complete Stories. Ed. Nahum Glatzer. Foreword John Updike. New York: Schocken Books, 1971. Print. Lippit, Akira Mizuta. Electric Animal: Toward a Rhetoric of Wildlife. Minneapolis: University of Minnesota Press, 2000. Print. Lucht, Marc, and Donna Yarri, eds. Kafka’s Creatures: Animals, Hybrids, and Other Fantastic Beings. Lanham, Boulder, New York, Toronto, Plymouth, UK: Rowman & Littlefield Publishers, 2010. Print. Mitchell, W. J. T. Foreword.
I noticed . . that in the depths of his chest the hound was preparing to upraise a song” (313). This song, which begins before the hunter even knows or acknowledges that he is singing, “was quite irresistible. It grew stronger and stronger; its waxing power seemed to have no limits” (314). The narrator is certain that this song seems to exist solely for my sake, this voice before whose sublimity the woods fell silent, to exist solely for my sake; who was I, that I could dare to remain here, lying brazenly before it in my pool of blood and filth .
Specifically, he THE TORTURED ANIMALS OF MODERNITY 45 advocates the modernity of the writer Federigo Tozzi (1883–1920), above all for his use of animal features for human characters, a denigrating process already present in literary naturalism that De Sanctis had already discussed in his essay on Zola. The difference between Tozzi and Zola, Debenedetti asserts, lies in Tozzi’s interiorization of the animal. As De Sanctis had anticipated but not himself lived to see, Debenedetti argues that the modern writer actually internalizes his “animal” nature in such a way as to call into question his or her own human identity, creating in the characters a tension between traditional humanistic values and a new—but also very old, almost prehistoric—animality.