The aim of th is paper is to elaborate on th e fluid border th a t exists in French between
la chair (flesh) and la viande (meat) as well as between la chair (flesh) and le corps
(body). This blurry distinction spurs us to analyze the impact of the discovery of paintings
in the Lascaux cave on our perception of art as connected to the realm of spirit. The uncanny
character of the Lascaux cave paintings, a homage paid to animality, as well as an aspiration to the sacred, is identical with an irruption of the heterogeneous in the text. it turns
art and literature into a space of excessive communication, which originates in flesh.