mode"--he then has to "not hear" himself and consequently rewrite the episode in The Odyssey. However, such a rewrite makes sense in two ways; first it demonstrates beyond any doubt that the "uncanny" has won over the "neuter." The "uncanny" is unsuperable, it returns again and again, in literature as in literary criticism. Then, by conflating Ulysses and the sailors whose ears are full of wax, it solves one of the most intriguing quandaries encountered by readers of Homer: if Ulysses can hear the song of songs, the song of all culture and literature but cannot move, tightly chained as he is, moreover caught in a "cowardly" ecstasy that makes him forfeit his heroic splendor, while his sailors are free to keep on rowing (or not) but now deafened by "technology" (here allegorized by the invention of ear plugs), how can this end? Who will tell the rowers that they are far enough from the Sirens, if their lovely song is undistinguishable from silence? Jean-Michel Rabaté University of Pennsylvania Shakespeare, Brecht, and the Intercultural Sign. By Anthony Tatlow. Durham: University of North Carolina Press, 2001. x + 297 pp. $59.95 cloth, $19.95 paper. Anthony Tatlow, former president of
Comparative Literature Studies – Penn State University Press
Published: May 17, 2005
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