Ses sandmann. Ses

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ses sandmann

The theme of the uncanny, as it relates to the home, is relevant here. It is significant that Clara is part of Nathaniel's home: the two grew up together and are reunited whenever Nathaniel returns home. To complete the various trade-offs, the narrator proposes yet another exchange by asking for the princess's hand in marriage in exchange for her foot. If Olympia is but an extension of Nathaniel's own self, this explains the outbreak of his second fit of madness, which in fact parallels the first. Three of the cases have been dropped, the suit said, but the one in New Jersey is still pending. Nathaniel here looks at Clara through Coppola's spy-glass. What Nathaniel really requires of his beloved, then, is not response, but quite the contrary, absolute attention and unthinking agreement with whatever he says.

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Ousmane Bah is suing Apple for $1 billion, blames facial recognition at stores for his arrest

ses sandmann

Indeed, it is only with the Parisian's explicit consent that the foot allows the princess to reattach it to her mutilated leg. This significance of the object, with its capacity to embody aesthetic, sexual, and commercial values, is dramatized in nineteenth-century fantastic narrative by the object's actual transformation into the human or deity whom it has come to replace. While the latter had bought the foot as a charming accessory, even determining himself its use, the foot now becomes uncontrollable. He claims that Clara, caught in her daily routine of narrow-minded concerns, would mechanically straighten out a crease in the curtains, even though her house were about to tumble down 339. Rather than tackling the problem at its source, which would involve above all asking how Olympia's real nature could possibly have remained secret for so long, the people are merely concerned with finding a culprit, on the one hand, and with making sure that they will never again be the victims of such deception, on the other. Olympia, on the other hand, presents no such threat: she is essentially devoid of any personality.

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Prairie Hills USD 113

ses sandmann

The foot is endowed with autonomous life: it can move, reason, and speak. We know from the foot's sad and sulky voice that it is not happy about its own commodification, and yet it acts in accordance with its rules. Fetishism involves the displacement of anxiety onto something controllable, generally a material object. Indeed, the foot is sold in the junk shop: thus, it cannot be offered as a purposeful or even nameable item. Many of its texts focus on objects and the relationships which humans establish to them. Yet although the narrator intends to use the foot as a paperweight, he selects the piece above all according to its originality and aesthetic value. As well as a subversion of the natural, the fantastic has been viewed as an escape from reality in the physical, social, and psychological domains.

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1 100 SES Abbreviation Meanings / Page 6

ses sandmann

Like the commodity, then, it is neither a human being nor an object, and yet it is endowed with life, as though it were human, and merchandized, as though it were an object. In developing the case of commodity fetishism, Marx uses not only the language of the fantastic, but also one of its inherent strategies—fetishization. But, so soon as it steps forth as a commodity, it is changed into something transcendent. In fact, precisely Clara's independent intellect and feeling make it impossible for Nathaniel to love her. You profound spirit mirroring my entire existence! The fact that the narrator does not have any specific object in mind, while he knows to what use he will put it, points to the arbitrary character of the curiosity. The narrator, on the other hand, assumes that he has a right to ask for the princess's hand in marriage, in exchange for her own foot.

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ses sandmann

Why, then, does he end up neglecting Olympia? What is new and significant is the fact that the portrayal of this commercialization of love, in the fantastic, is closely connected with the simultaneous fetishization of objects, on the one hand, and the objectification of humans—notably of women—on the other. Yet bourgeois social prescriptions for dealing with material objects were contradictory to this in the context in which Gautier's tale emerged: the acquisition of antique pieces of furniture, the collecting of original art objects and all sorts of more or less valuable knickknacks was fashionable and common in the period. In fact, the Parisian gives it a meaning absolutely different from its original one, which implies that the object must have been empty, or emptied, of meaning in the first place. When Nathaniel tells her about his childhood fears revived by the itinerant optician, she attempts to look at the situation from a psychological perspective, with a view to improving it in the interest of all. The mummy's foot refuses to be controlled not only by the narrator, but it also asserts its independent existence vis-à-vis Hermonthis. You ray shining from the promised afterlife of love! Inanimate objects are thus endowed with autonomous life: they are, in other words, fetishized. Each of them in fact reacts on an individual basis; there is no sense of common failure.

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ses

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Since the objects are sold isolated from their original context, they are no longer identifiable in terms of their utility or purpose. There would be nothing mysterious about the foot if it were an integral part of Hermonthis, if she used it as a foot. As for the Massachusetts case, the lawsuit said, Bah had never set foot in Boston before his arraignment. Rather, he browses in search of any uncommon object appealing to him, which he will then use as a paperweight. Viewing the status of marriage as above all an economic institution in which the bride is exchanged for her dowry between her father and bridegroom is not new or extreme in the period. The foot, in Gautier, reflects the power of the commodity over men, as well as the commodity's mysterious character. The reader's perspective, however, is different from Nathaniel's: he or she has doubts as to Olympia's humanity from the outset.

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