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Dear Rick:
 
Can't wait to check out your links. Meanwhile, recall Eliot's interest in Jacobean drama, which is famous for its grotesque corpses and body parts. In Webster's Duchess of Malfi, for instance, Ferdinand shakes hands with the Duchess in a dark room, using a severed hand of her lover! The line from The White Devil that Eliot paraphrased about the dog that digs up a corpse is in that uncanny vein. Things exposed that should be covered, the dead entering the realm of the living.
 
Diana
 
> > One does not expect a spectre, usually. I guess the uncanniness would
> > depend on whether the walking, talking figure is someone recognized as
> > having been alive. Stetson is such an uncanny figure. The eerie qualia
> > is produced by the neither-nor state of the phenomenon, the
> > spectator's inability to classify or qualify it as living or dead,
> > since it's both. This is disorienting and produces a disturbance of
> > the subject-object distinction.
>
> Since there's been a switch to Baudelaire in the City may I suggest
> the the last line addressed to Stetson, "Hypocrite lecteur, --
> mon semblable, -- mon frère!" be considered as reason to think of
> an apparitonal Stetson as a doppelgänger.
>
> Doppelgänger
> http://en.wikipedia.org/wiki/Doppelg%C3%A4nger
>
> The text of "The Lesson of Baudelaire" by T.S. Eliot
> http://world.std.com/~raparker/exploring/tseliot/works/essays/lesson-of-baudelaire.html
>
> Regards,
> Rick Parker




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