Day: February 3, 2024

Introduction: “Forrest Gump”

“Forrest Gump” is a superb adaptation of the novel of the same title, showcasing the character of Forrest Gump, a man with a low IQ but remarkable achievements. While not an exact replica of the novel, several scenes capture the spirit of the time. Directed by Zemeckis and based on Winston Groom’s novel with a screenplay by Eric Roth, the movie has garnered acclaim from the public. Tom Hanks brilliantly portrays the role of Forrest Gump, a seemingly dull-witted young man with numerous accomplishments. Robin Wright plays Jenny in her youth, contributing to the narrative told in a stream of consciousness technique.

The film portrays Forrest Gump not only exposing the Watergate scandal but also attempting to save his dear friend Bubba during the Vietnam War, eventually receiving the Medal of Honor from the President. Despite deviations from the original novel, the movie successfully reflects Zemeckis’s directorial vision. The use of the stream of consciousness technique in “Forrest Gump” adds a unique dimension to Gump, highlighting his main character trait of focus and concentration, redefining

Stream of Consciousness in “Forrest Gump”

The use of the stream of consciousness technique in the movie by Zemeckis is truly brilliant. Tom Hanks, portraying Forrest Gump, shares his stories with anyone who sits with him on the bench at the bus stop on the pavement. A recurring moment involves him taking out a chocolate, saying, “Mama says, life is like a box of chocolates…” (Zemeckis). Rob Humanick characterizes this as a gamble, playing with both visual and narrative elements, and notes that this gamble paid off, contributing to the movie’s resounding success (Humanick).

Humanick suggests that even though Jenny was added later as a victim of AIDS, the focus on Gump and his perspective is sufficient for the audience. Gump narrates his stories in his own unique way, sharing whatever comes to his mind (Humanick). This narrative approach makes Gump a captivating focal point for those who have the chance to sit with him and experience his stories through his eyes.

Relations in “Forrest Gump”

The use of the stream of consciousness technique in the movie significantly impacts the portrayal of relationships, refining Forrest’s connections with other characters, including his mother, Jenny, and his friend Bubba. Despite some differences from the novel, David Lavrey notes that Forrest remains “faithful to his mother” and is by her bedside when she passes away (Lavery). Forrest carries the wisdom of his mother, encapsulated in the phrase “Stupid is as stupid does,” along with the famous box of chocolates (Zemeckis). This unwavering faith in his mother’s teachings propels him forward, earning him a positive reputation wherever he goes and guiding him to stay on the right path.

Lavery emphasizes Forrest’s steadfastness in war, where he not only helps his lieutenant but also remains loyal to his friend Bubba. While Forrest’s relationship with Jenny differs from the novel, it is portrayed as somewhat unique in the movie. Forrest marries Jenny in the film and becomes a father to a son, showcasing a different dimension to his character. A poignant scene unfolds when Forrest leaves his son on the school bus, imparting the same life wisdom about a box of chocolates.

Narrative Style in “Forrest Gump”

The movie adeptly showcases Gump character traits through his unique narrative style. Seated on the same bench at the bus stop, he consistently shares his life story with changing audiences, demonstrating his unwavering commitment until he remembers his appointment to meet Jenny. This consistency reflects his strong character.

Forrest consistently exhibits commendable qualities in every challenge he faces. In the face of adversity, such as being chased by boys or heroically carrying his friend in a bombardment, he showcases remarkable strength and resilience. His dedication is evident in his achievements, whether excelling in running, succeeding in marketing, or exposing the Watergate Scandal. Rob Humanick describes the film as “an unlikely film with an unlikely man,” but notes that both have received accolades, highlighting the success of the movie (Humanick).

The resounding success of the film can be attributed to the quality of character traits portrayed by Forrest Gump, showcasing his journey from childhood to youth. His unwavering determination and steadfastness in his beliefs contribute to his ultimate success, making him a compelling and memorable character.

Conclusion: “Forrest Gump”

In short, the movie emerges as a unique film that introduces an extraordinary character characterized by a low IQ but an exceptional focus on every task at hand. The narrative unfolds the idea that success is attainable with unwavering concentration. The film’s uniqueness lies not only in the character but also in the storytelling style and its visual presentation.

Adopting the stream of consciousness technique, Tom Hanks, as Forrest Gump, shares his story with the audience while seated on the bench of a bus stop, holding a chocolate box with his iconic phrase. This narrative style plays a pivotal role in refining Forrest’s relationships with his loved ones. His commitment to his mother and Jenny, with whom he fathers a son and imparts the same life lesson, is a testament to this.

Forrest successfully navigates various roles, serving as both a marketing executive and a soldier, achieving resounding success in both realms. Despite some deviations from the source material, these differences seamlessly integrate into Forrest Gump’s narrative. The movie’s success, as suggested by Rob Humanick, lies in the unlikely nature of both the film and its central character, emphasizing that a compelling story can capture hearts, even without a traditional hero.

Works Cited: “Forrest Gump”

1. Humanick, Rob. “Forest Gump.” Slant Magazine. 04 Sept. 2014. https://www.slantmagazine.com/film/review/forrest-gump. Accessed on 06 Nov. 2017.
2. Lavery, David. “”No Box of Chocolates”: The Adaptation of Forrest Gump.” Literature Film Quarterly, vol. 25, no. 1, Jan. 1997, pp. 18-22. EBSCOhost, libuno.uno.edu:443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hft&AN=509634509&site=ehost-live&scope=site.
3. Zemeckis, R., et al. Forrest Gump. Hollywood, CA, Paramount Pictures. 2001.

Relevant Questions about “Forrest Gump”

1. How did Tom Hanks prepare for his role as Forrest Gump?
2. What is the significance of the feather in “Forrest Gump”?
3. How did “Forrest Gump” address and depict historical events?

Introduction: Gone Baby Gone

The film “Gone Baby Gone” delves into the sensitive subject of prevalent crime in contemporary Boston society, where family life is tainted by lust, greed, and drug addiction. Crimes are concealed under various layers, revealing that seemingly gentle and civilized individuals are engaged in illegal activities. The movie explores the complexities of a society where each new layer uncovers sinister acts committed by criminals, gangsters, mafias, and abductors. It unravels the knots of crime, exposing the selfishness and hollowness of the characters. Many characters maintain different facades to conceal their true selves, but the film takes on the responsibility of revealing these false appearances. As the story progresses, individuals initially perceived as helpful and nice are discovered to be involved in criminal activities. The film adopts language suited to gangsters, using typical words and registers. It continues the tradition of detective movies popular over the years, such as “The Departed,” “Minority Report,” “Traffic,” and “Hot Fuzz.” Crime in this film is portrayed as a direct consequence of moral degeneration, corruption, and drug addiction, leading to an identity crisis.

Moral Degradation in Gone Baby Gone

Moral degradation is the root cause of the crimes depicted in this movie. The society of Boston is generally considered to be civilized, well-mannered, and educated. While this is undoubtedly true, the movie’s writer offers a profound and different perspective, exposing the true reality of their lives. The characters introduced in the film exhibit dual personalities. Helene, the mother of the missing girl Amanda, appears disinterested in finding her. Her dialogues and actions suggest that she might even sacrifice her daughter for sensual pleasures and drugs. Furthermore, she, along with her boyfriend, is involved in robbing a drug dealer named Cheese. he moral element is also lacking in other characters, such as Lionel, who is Beatrice’s husband. Initially appearing genuinely concerned about the missing girl, it is later revealed that he has been involved in her abduction. Additionally, the movie portrays an incident of abduction where a seven-year-old boy is kidnapped by a child molester. Detective Remy remarks about the molester, stating, “Corwin’s plan is to keep a kid in the house

Corruption in Gone Baby Gone

Corruption within the ranks of police officers and detectives has significantly contributed to the exacerbation of the crime menace. Aside from the two main characters, Patrick and his girlfriend Angie, nearly everyone is involved in some form of corruption. The detectives engage in bargaining with drug suppliers, driven by their own greed rather than a sincere commitment to finding the missing girl. The entire atmosphere of the city appears sinister, echoing Patrick’s sentiment, “This city can be hard.”

Patrick shares a perspective he gained from his priest in his youth, highlighting the challenging balance between navigating a harsh environment and maintaining personal integrity. He describes the need to be both wise as serpents and innocent as doves, emphasizing the duality he faces amid criminal elements, even within his own department. He has to be sheep and serpent at the same time. The other two detectives Nick and Remy in collaboration with Captain Doyle stage a drama of the girl’s murder in a shootout near the Quarry. They intelligently put the doll in the water to show that she is drowned. Captain Doyle appears to be very loyal and dedicated police officer. He pledges to recover the baby at all costs because he has also happened to lose her daughter once. We believe in his words when he takes early retirement for not being able to save the baby. At the end it transpires that he is the person who has planned to abduct the baby and it was all a mere show to satisfy her family.

Drugs in Gone Baby Gone

The use and sale of drugs are portrayed as a major catalyst for the rise in crimes in US society. The drug mafia is shown to directly and indirectly promote criminal activities. It is revealed that Helene indulges in drug consumption five days a week, particularly using arsenic. Numerous other characters frequent pubs, engaging in excessive drinking and drug inhalation. The high cost of drugs compels users to seek money through any means necessary, leading to their involvement in robberies, exemplified by Helene and her boyfriend robbing a drug dealer.

Additionally, abductions for ransom serve as a means to accumulate funds for purchasing drugs and alcohol. The prevalence of drugs in society has also contributed to the adoption of abusive language, with characters using a distinct register filled with profanities such as “Fuck” and “Fucking,” along with repeated sexual references. This highlights how the use of drugs is further contributing to the moral decadence of the individuals within that society.

Conclusion: Gone Baby Gone

In shot, the film explores moral degeneration, corruption in law enforcement, and the widespread use of drugs as major contributors to the increased crime levels in US society. Human relations are marked by alienation, with individuals pursuing their own selfish goals, leading to a disintegration of the social fabric. The mother-daughter relationship is strained, emphasizing the prevalence of moral degradation as priorities shift towards personal indulgences. The film also reveals the involvement of professional police officers and detectives in abductions and connections with drug dealers. Furthermore, the pervasive spread of drugs in society has led to various evils, compelling individuals to commit heinous crimes for financial gain. Overall, the movie unfolds a captivating detective story that exposes the realities of drug addiction, societal double standards, moral decay, and corruption within the fabric of US society.

Works Cited: Gone Baby Gone

Gone Baby Gone. Dir. Ben Affleck. Perf. Ed Harris, Casey Affleck Morgan Freeman. 2007.

Relevant Questions about Gone Baby Gone

1. How does the character of Patrick Kenzie navigate the moral and ethical dilemmas surrounding the investigation in “Gone Baby Gone,” and what does his decision-making reveal about the complexities of justice?
2. In “Gone Baby Gone,” how does the setting of the working-class neighborhoods in Boston contribute to the overall atmosphere of the story, and what impact does it have on the characters’ decisions and actions?
3. The novel “Gone Baby Gone” explores themes of parental responsibility and societal expectations. How do the characters grapple with these themes, and what commentary does the story provide on the challenges faced by families in the midst of adversity?

Introduction: “Fences” and “Sweetheart of the Song Tra Bong”

“Fences” and “Sweetheart of the Song Tra Bong” both explore struggles; the first of Troy Maxson as he grapples with his past, the second of Mary Anne Bell as she becomes enmeshed in the harrowing realities of the Vietnam War. In her groundbreaking work, “Gender Trouble: Feminism and the Subversion of Identity,” Judith Butler argues that, “Although social scientists refer to gender as a ‘factor’ or a ‘dimension’ of an analysis, it is also applied to embodied persons as ‘a mark’ of biological, linguistic, and/or cultural difference” (09). By this, she suggests that the depiction of female characters in literature differs significantly from their male counterparts not only in a biological sense but also within cultural contexts. Here, culture refers to the ways in which women navigate their lives within specific domestic, familial, or social settings. In both “Fences” and “Sweetheart of the Song Tra Bong,” female characters like Mary Anne Bell and Rose Maxon attempt to challenge the boundaries imposed on them by gender-segregated perceptions and conventional expectations of the “softer sex” individuals. Despite belonging to diverse communities and races with significant ethnic heritage considerations, Rose and Mary Anne Bell conform to entrenched notions of feminine fragility under patriarchal domination. While Mary Anne Bell, a young white girl, defies societal expectations by visiting Mark Fossie in Vietnam, breaking gender norms, Rose Maxon challenges traditional feminine roles by adopting the daughter of Troy from his second wife, Alberta, thus responsibly confronting the expectations placed upon her. This action makes Troy Maxon feel ashamed of his role as the head of the family. Both female characters not only exemplify strong-willed and unconventional feminine traits but also reveal their softer sides, emphasizing their importance as binding members within their respective social groups.

Gender in “Fences” and “Sweetheart of the Song Tra Bong”

Regarding Mary Anne Bell’s role as a strong young girl, there is undeniable evidence of her courage, exemplified by her extensive journey from “Cleveland to Los Angeles, LA to Bangkok, Bangkok to Saigon,” ultimately reaching her man Fossie via C-130 and helicopter, as detailed by O’Brien (04). This journey underscores her bravery in venturing into the combat zone, disregarding military officials’ recommendations against allowing women in such areas. Patrick A. Smith (1967) further explores this transformation of Mary Anne Bell, suggesting in his critique of Tim O’Brien’s works that her metamorphosis is more accurately described as an enchantment with the wilderness, noting that it doesn’t intimidate Mary Anne as it does other American soldiers (109). This suggests her innate courage and love for enchantment, placing her on par with the Green Berets stationed in the same challenging environment.

Similarly, Rose Maxon exhibits immense courage in navigating life with her strong-willed and sometimes volatile African American husband, Troy Maxon. Despite Troy’s forceful personality, Rose asserts her authority not only in domestic matters but also in decisions concerning her son, particularly his passion for baseball. She explicitly supports her son by stating, “They got a lot of colored baseball players now. Jackie Robinson was the first,” and swiftly adds that Troy should not object to Lyons joining the baseball team in college (Wilson 06). While Lyons may hesitate to defy his father, it is Rose who instills courage in her son, emphasizing her pivotal role in shaping the family dynamics. Furthermore, Rose makes it clear that she is the one to decide the future of the household if the male members fail to shoulder their responsibilities, showcasing an unconventional feminine leadership akin to leading a small batch of Green Berets from the front. However, beneath this assertive exterior, there is always a softer side to her feminine qualities that distinguishes her in various roles within the family dynamic.

Femininity in “Fences” and “Sweetheart of the Song Tra Bong”

The feminine side of these female characters revolves around their ability to capture the hearts of the men in their lives. Despite Troy’s extramarital affairs, he finds solace and a sense of homecoming with Rose, considering her a stabilizing force. Analyzing this aspect of Rose’s character, Harry J. Elam contends that although she consistently supports Troy through various challenges, the implicit notion of “a woman needing a man” underlies the actions in the play. Elam further argues that Rose takes control because Troy willingly “relinquishes this element of economic authority,” and she assumes it as her own responsibility (168). This distinctive aspect of Rose’s character sets her apart, showcasing her successful roles as a wife and a mother. Additionally, Rose exhibits love and care by taking responsibility for Alberta’s daughter, stating, “From right now…this child got a mother. But you a womanless man” (19). This reveals the softer side of her feminine role as she acknowledges that baby Raynell is not accountable for the actions of her father or mother. However, despite her caring nature, Rose becomes assertive and firm in taking control of the household, demonstrating a balance of strength and compassion. Similar complexities can be observed in the character of Mary Anne Bell.

Events of “Fences” and “Sweetheart of the Song Tra Bong”

Mary Anne Bell emerges as a central figure and a morale booster for the soldiers at the checkpoint, offering a refreshing presence after months without female companionship. Described as a “novelty” and a source of morale, Mary Anne exudes a coy and flirtatious energy that is not lost on the soldiers. However, her openness and flirtatious nature do not provoke any jealousy or suspicion from her beloved, Fossie, who understands and respects her right to enjoy life. Mary Anne’s softer side becomes evident when she actively engages in wrestling with soldiers and expresses a genuine curiosity about local villages, wanting to experience their smells and customs. Yet, she remains vigilant, realizing the potential danger her outgoing nature could pose to herself and the soldiers, as it might attract ambushes. Despite Fossie’s initial suspicions about her involvement with other soldiers, these prove unfounded upon investigation.

Described as a unique character by Stefania Ciocia, Mary Anne Bell stands out in Tim O’Brien’s narrative. Ciocia notes that, apart from Mary Anne Bell, the main female figures in “Things They Carried” are entangled in male characters’ attempts to cope with the trauma of their lives. In essence, Ciocia suggests that while Mary Anne Bell provides courage and boldness needed for combat duty at the post, she also embodies a stereotypical character serving as a rallying point for all the soldiers present. Mary Anne’s softer side complements her unconventional nature, making her a multifaceted and intriguing character in the story.

Both Mary Anne Bell and Rose Maxon exhibit unconventional aspects of their personalities that defy traditional expectations for female characters. During the time the story was written, the concept of women being combat-ready for the forces was considered awkward and even grotesque, challenging societal norms. The presence of Mary Anne Bell with the Green Berets is particularly jarring, and Fossie’s initial reaction of being “a little dazed” and eventually whimpering reflects the disbelief and discomfort associated with the breaking of traditional gender roles (10). Patrick A. Smith argues that Mary Anne Bell, as the softer sex, undergoes traumatization in the jungle, being enchanted by a beau and quickly succumbing to the spell of the environment. Smith suggests that she becomes a victim of the “depth of depravity that the war engenders,” evolving to a point where her brutal side aligns with that of the Green Berets (109).

Similarly, Rose Maxon transcends her traditional roles as a mother and wife. Not only does she support her son’s choice of playing baseball, but she also insists that her husband, Troy Maxon, build a fence in front of the house. This effort is to keep intruders out, but it fails to prevent Troy from straying outside the boundaries of their marriage, leading to a confrontation about his affair with Alberta. Rose’s taunt, “Where was ‘we’ at when you was down there rolling around with some godforsaken woman?” points to Alberta, emphasizing that Troy has crossed a figurative fence (16). Rose is not attempting to keep her husband tied to the home, but she is fulfilling her duty by addressing the issue and expressing her disapproval. In this context, Rose embodies both traditional and unconventional roles, navigating the complexities of societal expectations and asserting herself in both spheres.

Binding Capability of Characters in “Fences” and “Sweetheart of the Song Tra Bong”

Concerning their roles as binding members, Mary Anne Bell effectively integrates into the platoon of Fossie, earning the respect, love, and affection of almost all the members. Patrick A. Smith refers to this process as her “indoctrination,” where she learns the art of war from Fossie and his friends, becoming a central figure. She becomes so ingrained in the dynamics that even Fossie suspects Diamond of being involved with her, and Sanders notes that she, in a sense, is connected to all of them without it being a sexual connection (09). Mary Anne’s ability to form bonds is not through flirtation but rather through becoming a unifying force, tying everyone, including Sanders, Rat, Fossie, and Diamond, to her in various ways.

Similarly, Rose Maxon plays a crucial role in binding her family together. By attempting to have a fence constructed in front of her home, she aims to prevent inmates from leaving and outsiders from entering. She becomes a binding force by keeping Raynell when Troy asks her to take her, shielding her son from Troy’s violent behavior, and instilling in him respect for his father. Despite her household facing challenges, Rose manages to maintain its safety and unity. Her straightforward statement to her son at the end of the play reflects her efforts to keep her family intact: “I know you and your daddy ain’t seen eye to eye, but I ain’t got to listen to that kind of talk this morning” (23). Both consciously and unconsciously, both women strive to keep the members of their respective groups together, showcasing their roles as binding forces within their contexts.

Conclusion: “Fences” and “Sweetheart of the Song Tra Bong”

In both works, the depiction of gender goes beyond traditional feminist notions, aligning with Judith Butler’s views but also transcending them. Mary Anne Bell displays courage by breaking away from traditional femininity, leaving the United States to join the Green Berets as a formidable soldier. This unconventional step challenges traditional feminist perspectives. Rose Maxon, on the other hand, doesn’t cross boundaries as Mary Anne does, but she exhibits strong determination in dealing with her violent husband. Rose takes on the responsibility of caring for the family, supporting her son’s desire to play baseball, and looking after Troy’s daughter from his second wife. Both characters demonstrate a blend of conventional and unconventional traits, navigating between crossing boundaries and reverting to traditional roles. They also serve as binding forces within their respective groups, keeping all members together.

Mary Anne Bell keeps the soldiers intrigued, presenting herself as both soft and loving yet not entirely committed. She ultimately leaves the group after learning the art of war, becoming as hardy as the Green Berets. In summary, both Mary Anne Bell and Rose Maxon showcase their gender identity in various ways, successfully performing traditional and unconventional roles. They effectively bind their respective groups together. While Mary Anne crosses certain boundaries, her experience also reveals the potential psychological toll of war on women. In different ways, both female figures illustrate the complexities of women’s roles during challenging times.

Works Cited: “Fences” and “Sweetheart of the Song Tra Bong”

1. Ciocia, Stefania. Vietnam and Beyond: Tim O’ Brien and The Power of Storytelling. Liverpool, UK: Liverpool University Press. 2012.
2. Elam, J. Harry. “August Wilson’s Women.” May All Your Fences Have Gates: Essays on the Drama of August Wilson Ed. Alan Nadel. Iowa City, US: University of Iowa Press, 1994. Print. 165-183.
3. O’ Brien, Tim. “Sweetheart of Song Tra Bon.”  MCCC. n. d. www.mccc.edu/…/O’Brien%20-%20Sweetheart%20of%20the%20Song%20Tra%20Bo…Accessed on 23 Apr. 2023.
4. Smith, A. Patrick. Tim O’Brien: A Critical Companion. Westpoint, Connecticut: US, Greenwood Press. 1967. Print. 
5. Wilson, August. “Fences.” MIT. n. d. http://web.mit.edu/wpick/output.pdf. Accessed on 23 Apr. 2023.

Relevant Questions about “Fences” and “Sweetheart of the Song Tra Bong”

1. In “Fences,” how do Troy Maxson’s past experiences and racial tensions shape his relationships with his family and friends, and what broader societal issues do these dynamics reflect in 1950s Pittsburgh?
2. In “Sweetheart of the Song Tra Bong,” how does Mary Anne Bell’s transformation in the Vietnam War serve as a metaphor for the dehumanizing effects of conflict, and what does her story reveal about the impact of war on individuals, particularly women?
3. Both “Fences” and “Sweetheart of the Song Tra Bong” explore the consequences of societal expectations and norms. How do the characters in each work navigate and challenge these expectations, and what broader commentary do these narratives offer on societal norms during their respective time periods?

Introduction: Francis Bacon’s Essays: Annotated Bibliography

Francis Bacon’s essays, composed in the late 16th and early 17th centuries, are a collection of philosophical and moral reflections. Characterized by their concise and aphoristic style, these essays cover a broad range of topics, including friendship, studies, marriage, and human nature. Bacon’s objective is to provide practical wisdom and guidance for individuals understanding life’s complexities. Through a blend of classical wisdom, empirical observations, and a keen understanding of human psychology, he provides insightful reflections on the challenges and virtues of human existence.

Davis, Walter R. “Francis Bacon: Overview.” Reference Guide to English Literature, edited by D. L. Kirkpatrick, 2nd ed., St. James Press, 1991. Literature Resource Center, go.galegroup.com/ps/i.do?p=GLS&sw=w&u=txshracd2512&v=2.1&id=GALE%7CH1420009027&it=r&asid=8996bf137d4b34c95c57772e2e7b6987. Accessed 28 Oct. 2023.

Walter Davis provides a comprehensive overview of Francis Bacon and his work, highlighting Bacon’s interpretations of human nature in relation to myths, history, and personal experiences, all of which are documented in his essays. Davis reviews Bacon’s works, emphasizing that the essays cover a wide array of subjects, offering insights into worldly wisdom and moral issues. He remarks on Bacon’s writing style and imagery, noting their coherence in structure and explicitness in advice. Davis further asserts that the essays form a unified whole, exploring practical everyday subjects. In conclusion, he characterizes Bacon’s essays as fine examples of a subtle reevaluation of his own thoughts on worldly matters, contributing to personal and professional advancement.

Miller, John J. “`Pruning by Study’: Self-Cultivation in Bacon’s Essays.” Papers on Language & Literature, vol. 31, no. 4, Fall95, p. 339. EBSCOhost, libaccess.hccs.edu:443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9512121382&site=ehost-live&scope=site.

In his article “Pruning by Study”: Self-Cultivation in Bacon’s Essays,” John Miller examines the practical nature of Bacon’s essays, drawing from his treatises “The Novum Organon” and “The Advancement of Learning.” Miller notes that Bacon’s method is inductive, deriving results from specific arguments, as observed by critics. He contends that Bacon’s aphorisms reflect the common “anxieties, concerns, or socio-political conditions” of his time (339). Miller adds that the essays are not only standalone entities but also embody a pure wisdom emanating from Bacon’s own self, possibly bordering on selfishness. Analyzing Bacon’s social essays, Miller highlights their primary focus on the relationship between private and public life, offering advice on how to strike a balance. He suggests that Bacon’s overarching objective is to prompt others to project their public selves and understand the influence of societal perceptions on their lives.

Strachey, Lytton. “Bacon as a Man of Letters.” Literature Criticism from 1400 to 1800, edited by James E. Person, Jr., vol. 18, Gale, 1992. Literature Resource Center, go.galegroup.com/ps/i.do?p=GLS&sw=w&u=txshracd2512&v=2.1&id=GALE%7CH1420009031&it=r&asid=e1b32ec0c485c59cca9c99a1516e4cb7. Accessed 28 Oct. 2017. Originally published in Spectatorial Essays, by Lytton Strachey, Harcourt, Brace Jovanovich, 1965, pp. 82-87.

In the essay “Bacon as a Man of Letters,” Lytton Strachey, a prominent English literary figure, encapsulates the philosophy and wisdom found in Francis Bacon’s essays. Strachey draws comparisons between Bacon and Sir Thomas Brown and Jonathan Swift, emphasizing their shared commitment to writing for practical purposes. Describing Bacon’s essays, Strachey characterizes him as a “wonder for wise men” due to his concise and sagacious remarks on a myriad of subjects. He commends Bacon’s style and approach, noting that his philosophy is utilitarian rather than strictly moral or ethical. Additionally, Strachey highlights Bacon’s love for refined prose, likening him to Montesquieu and even suggesting that Bacon occasionally surpasses him in linguistic richness. Acknowledging Bacon’s social standing as a “man of the world,” Strachey underscores the practical wisdom embedded in Bacon’s writings.

Sessions, William A. “The Essays: Reading Them as “Dispersed Meditacions”.” Francis Bacon Revisited, Twayne Publishers, 1996, pp. 21-56. Twayne’s English Authors Series 523. Twayne’s Authors Series, go.galegroup.com/ps/i.do?p=GLS&sw=w&u=txshracd2512&v=2.1&id=GALE%7CCX1590800014&it=r&asid=254d4ab4af5b3a84bcd8e218b160934f. Accessed 28 Oct. 2023.

William Sessions sheds light on Francis Bacon’s essays, life, and intellectual pursuits in both English and Latin. Noting Bacon’s service to the Prince of Wales and his practical experiences, Sessions suggests that Bacon’s style evolved through the study of Latin and eventually became geared towards practical purposes. Sessions argues that Bacon, being cognizant of the rhetorical demands and situations in which he wrote, adopted an aphoristic style that suited him best. Referring to Bacon’s maxims as a kind of law, Sessions asserts that these aphorisms serve as a “visible sign of the truer method of knowledge” (36). According to Sessions, this reflects an essential dialectic that Bacon consistently engages with in his essays. Sessions specifically comments on three renowned essays by Bacon, namely “Of Truth,” “Of Studies,” and “Of Cunning.”

Tyagi, Ankit. “Francis Bacon’s Philosophy of Life and Morality.” International Journal of English Language, Literature and Translation Studies, vol. 2. no. 3 (2015): 524-527.

Ankit Tyagi’s concise paper explores the life and morality portrayed in Francis Bacon’s essays. Through a thorough review of several essays, Tyagi asserts that Bacon’s worldly wisdom is exceptional in English literature, attributing this uniqueness to his versatility. Tyagi notes that Bacon addresses a diverse array of social topics, presenting a distinctive set of maxims in each instance. While acknowledging the occasional absence of morality in Bacon’s maxims, Tyagi emphasizes their practical applicability in the real world. Supporting his argument with extensive quotations from Bacon’s essays, Tyagi contends that Bacon’s philosophy is predominantly utilitarian. In short, Tyagi characterizes Bacon as a “citizen of the world,” emphasizing the practical nature of his essays.

Books on Francis Bacon’s Essays

1. Vickers, Brian. “Francis Bacon: The Major Works.” Oxford University Press, 2008: This comprehensive collection of Bacon’s essays by Brian Vickers includes insightful annotations that provide a deep exploration of the historical and philosophical context of each essay, offering readers a thorough understanding of Bacon’s intellectual contributions.
2. Peltonen, Markku (Ed.). “The Cambridge Companion to Bacon.” Cambridge University Press, 1996: In this comprehensive companion, edited by Markku Peltonen, various scholars contribute critical essays that provide a broader perspective on Bacon’s life, works, and influence. The book offers readers a well-rounded background to contextualize Bacon’s essays.
3. Jardine, Lisa. “Francis Bacon: Discovery and the Art of Discourse.“ Cambridge University Press, 1974: Lisa Jardine’s work focuses on the rhetorical aspects of Bacon’s essays, offering valuable insights into Bacon’s mastery of language and persuasive techniques. This book enriches the understanding of Bacon’s communication strategies.

Introduction: Foucault’s Panopticism

Michel Foucault’s concept of Panopticism is an elaboration on Jeremy Bentham’s Panopticon, a prison system designed for disciplining abnormal or criminal individuals, aligning them with accepted societal norms, traditions, and laws. Foucault juxtaposes the Panopticon with the metaphorical representation of a plagued society. The first concept aligns with dictatorships and monarchical administrative setups, where individuals risk their lives, face contagion, or punishment if they move from their designated places (Foucault 226).

On the other hand, the theory of Panopticism differs, arranging spatial unities to enable constant surveillance and immediate recognition. Foucault asserts, “Visibility is a trap,” as surveillance occurs from a centrally located tower surrounded by circular cells, maintaining the supervisor’s invisibility—a mode of power ensuring order. Discipline is maintained through inducing a permanent state of consciousness among inmates that they are under constant surveillance, an “automatic functioning of power” (230).

Foucault further elucidates this automatic functioning, describing how power becomes individualistic, distributed among “bodies, surfaces, lights, gazes,” and entangling individuals in relations (232). Drawing on Bentham, he emphasizes that the exercise of power should be both visible and unverifiable for the subjects (231), declaring it a “permanent victory” over them, with physical confrontation avoided at all costs and decisions made beforehand (234). Henrik Soderstrom expands on Foucault’s thesis, asserting that those with knowledge gained through surveillance hold power over the prisoners. Soderstrom emphasizes the circular nature of power, where knowledge production facilitates its exercise. This circular process underscores the central role of power (Soderstrom 1-3).

Bentham and Foucault’s Panopticism

Foucault explicates Jeremy Bentham’s Panopticon following his own example of the plague society. Describing the Panopticon as a “marvelous machine,” Foucault emphasizes its ability to produce consistent power effects due to its circular design, with a surveillance officer invisibly situated in the central tower overseeing cells arranged around it (231). Each cell is visible from the tower, illuminated in the background, creating a scenario where inmates act like individual actors in their respective theaters, unaware of others but conscious of an invisible watcher.

This concept finds application in various contexts, notably in prisons, where Foucault argues that the Panopticon serves not merely to punish but to train and correct behavior. It becomes a laboratory for different experiments aimed at altering and instructing individuals collectively, given the impracticality of individually monitoring and teaching each person (236). The system allows for the simultaneous instruction of diverse techniques to various individuals, all observed invisibly from the tower. The isolated nature of the learning process prevents collaboration among inmates, mitigating the risk of plots or rebellions. This centralized approach also minimizes the need for numerous officers, as power is distributed from one supervisor who, in turn, is monitored by superiors.

Foucault asserts that the Panopticon, as a figure of political technology, can be adaptable to multiple purposes. In the context of a prison, it efficiently fulfills functions such as safe custody, confinement, solitude, forced labor, and instruction. The ultimate goal is to shape and teach prisoners to adopt specific behaviors, achievable through the strategic tactics outlined by Foucault (236). Thus, the Panopticon becomes a versatile tool in the broader framework of political technology, serving the multifaceted objectives of confinement and behavioral modification within various institutional settings.

Example of Foucault’s Panopticism

Your experience in your school resonates well with Foucault’s concept of Panopticism. The circular layout of the principal’s office, combined with the strategic placement of CCTV cameras throughout the school, mirrors the Panopticon’s design, allowing for continuous surveillance. The principal, positioned at the central point, holds a position of power with the ability to observe various areas of the school through the glass windows and CCTV monitors.

The disciplinary actions taken, such as calling teachers or students to the discipline office based on surveillance footage, reflect the distribution of power as outlined by Foucault. The surveillance system becomes a mechanism through which the principal exercises control, identifying and addressing behaviors that may be perceived as conflicting with school norms and traditions. The combination of visibility and invisibility in this setup aligns with Foucault’s idea that the power of surveillance is most effective when those being observed are unaware of when or if they are being watched.

Your personal experience of being caught playing truant, with the prefect acting as an intermediary sent by the discipline in-charge, illustrates the practical application of the Panopticon-like structure. The principal’s direct involvement, monitoring activities through CCTV, reinforces the internalization of surveillance, creating a state of consciousness among students that they are constantly being observed.

In short, your school’s structure and disciplinary practices serve as a tangible example of how Foucault’s Panopticism can manifest in various institutional settings, showcasing the dynamics of power, visibility, and control within the educational environment.

Works Cited: Foucault’s Panopticism

1. Foucault, Michel. “Panopticism.” Editor. Bartholomae, David and Tony Petrosky. An Anthology of Writers. 6^th Ed. Boston. Bedford / St. Martin’s. 2002. Print. pp. 223-239.
2. Soderstrom, Henrik. “Inflation, Amplification, Multiplication in Foucault’s Panopticon.” Henrik Soderstrom. Jan. 2011. Web. 15 Apr. 2023.

Relevant Questions about Foucault’s Panopticism

1. How does Foucault’s Panopticism apply to contemporary surveillance technologies and practices, and what implications does it have for individual privacy and social control?
2. In Foucault’s Panopticism, the Panopticon serves as a metaphor for disciplinary power. How does this concept extend beyond physical institutions, such as prisons, to encompass societal norms, cultural expectations, and everyday behaviors?
3. Foucault suggests that the Panopticon creates a self-policing effect among individuals, leading to internalized surveillance. How does this internalized surveillance manifest in modern societies, and what are the consequences for individuals in terms of conformity, self-regulation, and the shaping of identity?

Introduction: Race, Fences, and Family in “Fences”

Despite the lack of clear answers, authors consistently find solace in repeatedly addressing these issues of race, fences and family in “Fences,” his controversial play. The play not only illustrates racial discrimination against the backdrop of shaping or shattering a person’s entire life but also portrays female vulnerabilities and the struggles to maintain and preserve a family. Wilson endeavors to present the harsh reality of black lives in the United States through characters like Troy, Bono, and Cory.

Within the context of racial discrimination, broken families, and strained ties, conflicts arise between family members, particularly between husband and wife and son and father. The family becomes perplexed because, as stated in the play, “Everybody got different fathers and mothers” (Wilson 2030). This confusion is evident in Rose, the family’s mainstay, who expresses her bewilderment, stating that she cannot discern “who is who” within her home (2030). Similarly, Troy seeks acknowledgment as the head of the family, feeling overlooked by his son and wife. While there are other themes presented in the play, the exploration of race, fences, and family in “Fences” reveals patriarchal conflicts, racial discrimination, and their profound impacts. The use of the metaphorical “fence” symbolizes the effort to keep the family united despite challenges.

 Themes of Race, Fences, and Family in “Fences”

Change is often considered the spice of life, but certain souls resist it out of fear that their existence will undergo a transformative shift, as depicted in the themes of race, fences, and family in “Fences.” This resistance may be rooted in the apprehension that change could challenge their dominance or lower their status. Troy, the patriarch of the Maxson family in “Fences,” exemplifies this reluctance to embrace change.

The play explores various interpretations of father-son relations, particularly the tumultuous dynamic between Troy and Cory, especially regarding Cory’s aspirations for a career in sports. Despite Cory securing a place on the school soccer team and the coach planning to visit their home, Troy, described as a “giant black nigger” by Bono, insists on steering his son towards a more practical career, such as joining A&P or acquiring a skill. Troy, drawing from his own experiences, believes that blacks have limited prospects in sports, and he dismisses Cory’s dreams.

When Cory attempts to challenge his father’s perspective or inform him about the changing times, Troy responds harshly, labeling him a fool. Troy’s stubbornness becomes evident when he asserts that “The colored guy got to be twice as good as he gets on the team” (2014). However, Cory sees a world evolving rapidly, and tensions escalate between father and son. Troy bluntly declares, “The white man ain’t gonna let you get nowhere with that football noway” (2020), but Cory rejects his father’s wisdom, leading to strained relations.

The power struggle between father and son is palpable, with Troy reluctant to relinquish his position, or it could be interpreted as a father’s stubborn concern for his son’s career. The themes of race, fences, and family in “Fences” vividly portray these complexities and conflicts within familial relationships.

Interwoven Themes of Race, Fences, and Family in “Fences”

The family is often considered the nucleus of society, but when a political class suppresses the underdog class, it profoundly impacts the family structure of the marginalized, as exemplified in various themes of race, fences, and family in “Fences.” Centuries of suppression have resulted in fractures within African-American families, manifested in strained relations, complaints of racial discrimination, and career obstacles, as depicted in the play.

August Wilson weaves the character of Troy by delving into his lineage, emphasizing that the struggle is not isolated to one individual but extends to the entire community and, ultimately, the family. Troy’s career as a garbageman symbolizes the limited opportunities available, where even a promotion to a driver’s position is deemed unacceptable. While the play suggests that age impedes Troy’s promotion, Wilson underscores this in the opening line of his song, “When the sins of our fathers visit us” (1997), suggesting a perpetuation of conditions from one generation to the next, although Cory strives to break this cycle.

Discrimination is ingrained even within the characters’ minds, as evidenced by Bono’s astonishment about indoor toilets, stating, “I thought only white folks had inside toilets and things” (2001). This reflects the dismal living conditions African Americans endured during the time Wilson wrote “Fences,” highlighting their plight. Wilson’s irony extends beyond race; he condemns institutional exploitation, revealing the whites’ supremacy not only in sports but also in banks, laws, and authorities. The play underscores the struggles faced by a poor garbageman attempting to secure a promotion to a driver’s position, illustrating how tactics employed by the upper class perpetuate poverty.

The cycle of poverty leads to the disintegration of families, a theme poignantly portrayed in the play. Despite these challenges, the head of the family bears the responsibility to strive for family unity, even in the face of societal injustices.

Family and Themes of Race, Fences, and Family in “Fences”

In “Fences,” the duty of preserving family unity is shouldered by Rose. Instinctively, she endeavors to keep her family connected by urging Troy and Cory to build a fence. August Wilson utilizes the metaphor of the fence to convey the idea that it is a woman’s responsibility to safeguard her household from both external and internal threats.

Despite Rose’s efforts, external threats manifest in Troy’s infidelity as he admits to “eye all the women” and claims, “I don’t miss nothing” (1999). Unaware of Troy’s actions, Rose is convinced that she is the one holding the home together. Subconsciously, she senses an impending crisis, prompting her to request Troy to build the fence. However, Troy remains oblivious to the deeper meaning behind Rose’s request, assuming it is solely about keeping the family secure.

Only a third party, like Bono, comprehends the situation, as he is aware of Troy’s involvement with Alberta. Bono articulates, “”Some people build fences to keep people [like Alberta] out … .and other people build fences to keep people [like Troy] in” (2027). Troy, however, fails to grasp the significance of Bono’s philosophy. His preoccupations revolve around his pursuit of promotion, financial concerns, and his relationship with Alberta. He leaves the responsibility of maintaining family unity to Rose, providing him the freedom to indulge in life’s pleasures.

Recognizing the importance of imparting family values to Cory, Rose encourages him to join Troy in building the fence. She also persuades Cory to attend Troy’s funeral, emphasizing his future role as the head of the family. Toward the play’s conclusion, Troy unconsciously reveals his realization in a monologue, stating, “I am gonna build me a fence around what belongs to me” (2036). This moment serves as his epiphany regarding the true purpose of building the fence. Unfortunately, this revelation comes too late, as he is unable to fulfill this objective in the earthly realm.

Conclusion: Race, Fences, and Family in “Fences”

While race, fences, and family are indeed prominent themes in “Fences,” they serve as major thematic strands that interweave to depict the life and racial discrimination experienced by African Americans in their social environment, with profound ramifications on their home lives. August Wilson skillfully portrays the consequences faced by impoverished households due to external threats resulting from racial segregation.

The play delves into the conflicts that arise among family members due to misunderstandings and differing perspectives on both external and internal changes. The persistent discord between Troy and Cory, particularly regarding Cory’s career choices and their perspectives on Troy’s evolving circumstances, exemplifies this thematic complexity. While the impact of racial discrimination on the lowly position and mindset of African Americans is acknowledged, Wilson also highlights a failure to comprehend the social dynamics that could facilitate individual improvement.

Troy’s character serves as a prime example of someone who lacks an understanding of the societal complexities that individuals like Cory can perceive. As houses begin to deteriorate over time, it becomes evident that women are the ones who step forward to preserve family unity. Rose, in particular, fulfills this role effectively by urging Troy to build a fence at home.

Beyond the specific racial context, Wilson skillfully touches on universal themes of domestic issues, racial animosity, and patriarchal conflicts. It is this multifaceted exploration of human experiences that elevates “Fences” to the status of a masterpiece, resonating with audiences on a broader and more profound level.

Works Cited: Race, Fences, and Family in “Fences”

1. Wilson, August. “Fences.” An Introduction to Fiction, Poetry, Drama and Writing. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1966-2035. Print.

Relevant Questions about Race, Fences, and Family in “Fences”

1. How does the interplay between race, fences, and family in “Fences” contribute to the characters’ experiences and relationships, and what insights does the play offer into the African American struggle for equality during the 1950s?
2. In “Fences,” how does the theme of race, fences, and family shape the character of Troy Maxson and his choices, and what does it reveal about the delicate balance between personal aspirations and familial responsibilities within the African American community?
3. Within the context of “Fences,” how do the themes of race, fences, and family intersect to illustrate the challenges faced by African Americans in pursuing their dreams and aspirations within a racially segregated society, and what social commentary does the play provide on these themes?