Tag: short essays

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?

Mama: Characters in “Everyday Use”

1. Comment on Mama’s dreams, a character in “Everyday Use”. What could it tell us about the characters and the themes of the story?

Characters in “Everyday Use” by Alice Walker grapple with the complexities of heritage and identity, as the narrative unfolds through the contrasting perspectives of Dee, Maggie, and their mother. Mama dreams about her daughter in the second paragraph. It seems to be a full irony that runs throughout the story and culminates at the end. However, she vacillates in her dreams as she has not that kind of relationship with Dee, her educated daughter, which should have been between a mother and a daughter. She thinks that it may be that “Dee is embracing me with tears in her eyes” or that she may “taunt” her but it does not happen on TV shows. However, her dream is that both, she and her daughter, are like stars which happens in the case of successful children who are interviewed. In fact, her daughter is stylish and wants her mother to be “a hundred pounds lighter” with “glistening” hair, but she does not like this. It tells that there is going to be a conflict between both of them as she dreams differently from the reality.

2. Identify the physical descriptions of the three women in the story. Count their personality traits. How do each of them symbolize and what?

Mama

She is the narrator of the story. She is a strong, sturdy, and hardworking lady of more than 50, who has done every manual job reserved for men. She knows that she is heavy and her “fats” keep her hot in the severe winter. She is as strong that once she hits a bull calf with a hammer and cuts it to “chill before nightfall” which shows her strength.

1. She is gentle and motherly. She shows it when she saves her daughter Maggie from fire.
2. She worked like a horse that she bred up both of them and also got Dee educated with the help of the Church.
3. She is also somewhat stern that she does not allow Dee to take the quilt that she has made for Maggie.
4. She is quite honest when she tells about her daughter Maggie how she looks and her limitations.
5. She does like the superior manners of her daughter Dee.

Mama symbolizes a patronizing character who has done everything to make her daughters live a comfortable life. She is the epitome of unconditional but fair maternal love for her unequal daughters.

Maggie: Characters in “Everyday Use”

Maggie is a little girl who has “burn scars” on her face. She is a light figure but with a gait like a “lame animal” perhaps due to her injury. As she could not get an opportunity to get an education like her sister, she holds Dee in “awe” and feels “envy” but at the same time, she also loves her sister as she gives her quilts at the end.

1. She is an innocent figure who does not understand the meanings of possessions as she gives quilts to her sister.
2. She is dependent on her mama for everything.
3. She is a meek and shy girl and hardly gets involved in other activities.
4. She is a victim of loneliness.

She is a symbol of innocent, purity, and nervousness who even knows how to sacrifice for her near and dear ones. It is clear from the way she gives quilts to her sister and holds her in reverence.

Dee: Characters in “Everyday Use”

Dee is all style and newness for mama and Maggie as she is an educated girl who has “made it” to the top through an opportunity provided to her by her mama and the church. Therefore, she knows the style and has adopted one at the very young age of 16. However, she has forgotten everything that she belongs to a poor family and that her family is poor. She asserts her education so much that it makes her mother and sister hate education at all.

1. Dee is arrogant and wants her mother and sister to respect her merely because she is educated.
2. She feels jealous of her sister and makes life topsy-turvy at home, considering them merely human beings and cultural antiques instead of her own relations.
3. She is overconfident and insensitive as she does not see that her sister has nothing and that quilts will make her life easy.
4. She has rejected her inheritance by changing her name.

Dee is a symbol of pride in the family, but she is also a symbol of pseudo-educated persons who forget their real heritage and adopts style only for the sake of style. She represents a new generation of the modern era.

3. What is the importance of the quilt in the story? What does it represent? What does it mean to Dee, Mama and Maggie? Do these three women differ from one another in relation to their perception of the quilt? If yes, in what way?

Quilt and Characters in “Everyday Use”

Quilts are symbols of property, prize, and inheritance in the story which have been handed down to the other generation. For Maggie and mama, they are a property and a thing of use. They know that they have only such pieces of property to feel proud of that they have something. However, Dee tries to get them merely as decoration pieces with the excuse that she would preserve this inheritance. The quilts, in fact, represent a whole family history but they mean different things to all three. For mother, they are a real legacy that she is handing over to Maggie. For Maggie, they are things of everyday use to benefit from. However, for Dee, they are a prize, a gift, and a thing to preserve and feel pride at.

Works Cited: Characters in “Everyday Use”

Walker, Alice. Everyday Use. Recording for the Blind & Dyslexic, 2004.

Relevant Questions about Characters in “Everyday Use”

1. How do the characters in “Everyday Use,” especially the character of Dee, reflect the theme of cultural identity and heritage in the story?
2. In “Everyday Use,” how do the characters, particularly Maggie, evolve or change throughout the narrative, and what role do they play in conveying the story’s message?
3. What is the significance of the names of the characters in “Everyday Use,” and how do these names contribute to the overall themes of the story?

Introduction: Ordinary World and Don Quixote

In the Ordinary World and Don Quixote, Miguel Cervantes masterfully blurs the lines between illusion and reality, creating a narrative where the protagonist’s fantastical perceptions intertwine with the more mundane aspects of the world around him.It happens with every literary piece that illusions are created, and then reality is shown through some characters, which although stay in the background, peep through every now and then in contrast with the outside world or other characters. It is the quality of Don Quixote by Miguel Cervantes that it has surpassed all the limits set between illusions and reality. From the very first page, its hero Don Quixote creates illusions around himself to the extent that his world seems only the world of imagination and not of reality. However, there is always a fine line created by Miguel Cervantes between fiction or illusion and reality, and they both mingle at some point and then separate again when it becomes impossible to amalgamate the world of illusion with the world of reality. The world of illusion starts from his reading books about chivalry, his own imaginative power, his contrivance of a magician obstructing his path, and above all, his imaginary beloved.

Mental State, Ordinary World and Don Quixote

When the book begins, Don Quixote appears to have lost his stable state of mind. He is more attracted to books of chivalry than to human beings and reality, as the book states, “he was at leisure, gave himself up to reading books of chivalry with ardor and avidity that he almost entirely neglected the pursuit of his field sports, and even the management of his property” (Cervantes 54). This infatuation with chivalry leads him to spend a significant amount of his money, obtained from selling lands, on buying books. These books take hold of him, and whatever he reads in them, such as errands, fights, and adventures, he imagines going through them himself. This world of illusion leads him to announce that he is a “knight errant” (58) who will now edify the world. Not content with this, he names his horse, takes out his inherited armors and weapons, and sets out on expeditions. The imaginative world he has created around him, declaring himself a knight errant, soon shatters when he first comes into contact with reality at the inn. It is also mentioned in the preface that he “lost his wit” (61), often pronouncing conceits in waking hours.

Illusions, Ordinary World and Don Quixote

This first encounter between the world of illusion and the world of reality takes place at the inn. Quixote “pictures it to himself as a castle with its four turrets and pinnacles of shining silver, not forgetting that drawbridge and moat and all the belongings usually ascribed to castles of the sort” (121). However, when he sees that it is only in his imagination and nobody comes out to welcome this self-styled knight, he himself makes his way to the inn. However, he is still not back into his senses and sees the wenches as damsels and the innkeeper as the lord. Even when he is made the butt of jokes and laughter by the damsels, he carries on with his illusion, saying, “your ladyships need not fly or fear any rudeness, for that it belongs not to the order of knighthood which I profess to offer to anyone, much less to highborn maidens as your appearance proclaims you to be” (55). He does not see that he is making a mockery of himself in the real world around him. He rather considers himself a knight at arms. However, all those present at the inn also join this hilarious knight to enjoy life, and when all the characters, such as wenches and others, join the bandwagon, it seems to have become an entirely magical world removed from reality.

Dreams, Ordinary World and Don Quixote

Now he is even more hell-bent on becoming a knight and instantly makes Sancho his loyal second in command or squire. They go out on long journeys and expeditions. He advises Sancho, “There is no human history in the world,” he states, “that has not its ups and downs” (191), by which he means that they would see ups and downs, and Sancho should not mind it. Then the first of their adventures is the encounter with the windmills, following Quixote’s humorous expedition at the inn. Even after he meets a terrible failure in attacking them, he makes an excuse to Sancho that it is someone Freston who turned these creatures into windmills to defeat Don Quixote. This is very interesting, as he attacks a windmill, he even recalls his imaginary beloved, asking “her to support him in such a peril, with lance in rest and covered by his buckler, he charged at Rocinante’s fullest gallop and fell upon the first mill that stood in front of him; but as he drove his lance-point into the sail, the wind whirled it round with such force that it shivered the lance to pieces, sweeping with it horse and rider” (348), but still, he does not come to his senses. This is another illusion of his mind that somebody has turned these giants into windmills to snatch victory from him over nothing. However, he hears another dictum from his squire Sancho, who says, “there is a time to attack and a time to retreat” (241), but he does not pay heed to these wise musings and rather carries on with the stupid illusions he has created around himself. Even he has also come to the point of realization that these are windmills, and not giants turned into windmills.

Magic, Ordinary World and Don Quixote

Another important point about his illusions is that he attributes all his encounters and failed expeditions to magicians who are against him. This has become his major excuse on several occasions whenever he feels that his success is subject to several realities and that his illusions are at stake. For example, the priest of his village and his own niece have said, “but a magician who came on a cloud one night after the day your worship left this, and dismounting from a serpent that he rode he entered the room, and what he did there I know not, but after a little while he made off, flying through the roof, and left the house full of smoke; and when we went to see what he had done we saw neither book nor room” (73). She has confirmed that such things do exist and obstruct the good paths tread by human beings. As his library is walled up so that he could not read books to make his mind fly, they play with him, saying that it is the handiwork of the same forces that are against him. This further strengthens his belief that he is indeed a knight, and it is his job to rid the world of evils. This even comes to the point when he attributes his failure, as mentioned earlier, to Freston, an imaginary magician. He has still not come to the reality that it is not what he thinks but his own illusion.

Girls, Ordinary World and Don Quixote

Another great illusion that both Sancho and Quixote weave around them is the reality or existence of the lovely Dulcinea. As a squire, it is the responsibility of Sancho that he should produce the girl for his knight. However, he, as a practical person, is also aware of the fact that he cannot produce such a character that has no existence. He is found several times asking for her help, speaking to her in waking hours, or talking to her about his romance. When fighting with the Biscayan, he recalls her, saying, “O lady of my soul, Dulcinea, flower of beauty, come to the aid of this your knight, who, in fulfilling his obligations to your beauty, finds himself in this extreme peril” (392), which is an extreme form of illusion in the midst of reality. The interesting point is that he does not come out of it even at the end when he is asked by Don Gaolor to tell him about his life and country and beauty. He again says, “her name is Dulcinea, her country El Toboso, a village of La Mancha, her rank must be at least that of a princess” (103), knowing full well that she is just an illusion like so many illusions he has created through the figment of his mind. Even though it seems that Sancho is the creator of this beauty, he himself is not aware of her, as he thinks, “because neither any such name nor any such princess had ever come to his knowledge though he lived so close to El Toboso” (104).

Conclusion: Ordinary World and Don Quixote

In short, several of these illusions include the belief that he is a knight on a mission to correct the world, the existence of magical forces working against him, the presence of a beautiful lady eagerly awaiting this knight to fight against the world, and the notion that every enemy he encounters is the handiwork of some supernatural forces. Even his imagination plays a role in creating these forces, such as turning an inn into a castle and imagining the details of his beautiful Dulcinea. However, when viewed through the lens of an old literary piece, these occurrences are to be expected. If a real character is involved in excessive reading, they may suffer from delusions, psychological issues, or some form of phobia or mania. Therefore, it is not surprising that Quixote experiences such mania or phobia during that time. Secondly, when a fictional piece is written, especially one of considerable length, there must be some element of fiction or illusion against the real world to captivate readers. Cervantes likely employed this tactic to make his story more extensive and to fill the gaps with imaginary characters and illusions that challenge Quixote’s perception of reality. However, the entire world of magic or illusions built around Quixote crumbles with his eventual death and his return to sanity. It is essential to remember that Don Quixote is a work of fiction, and every piece of fiction operates within the boundaries set for literary pieces, allowing for a blend of illusions and reality. Therefore, it is not surprising that Quixote finds himself surrounded by illusions, which are essential elements of the reality presented in literary works.

Works Cited: Ordinary World and Don Quixote

De Cervantes, Miguel. Don Quixote. Lulu. com, 2016.

Relevant Questions about Ordinary World and Don Quixote

1. How does the concept of the “Ordinary World and Don Quixote” in storytelling, as discussed in literature and narrative theory, compare to the adventures and experiences of the character Don Quixote in Miguel de Cervantes’ novel?
2. In the context of Joseph Campbell’s Hero’s Journey, how does the concept of the “Ordinary World and Don Quixote” serve as a foundation for Don Quixote’s transformative and often surreal quest in Cervantes’ work?
3. How does the character of Don Quixote challenge or subvert the notion of an “Ordinary World and Don Quixote,” and what commentary does Cervantes provide on the nature of reality and illusion through Quixote’s perceptions and actions?

Introduction: Dante’s Three Circles of Hell

Dante’s Three Circles of Hell vividly depict the escalating depths of human suffering, offering a haunting exploration of the consequences that unfold as one descends through the infernal realms of sin and damnation. These are included in his famous epic, The Divine Comedy, around the age of 35. The Divine Comedy consists of three parts: Inferno, Purgatorio, and Paradiso, each comprising around 33 cantos, with an additional introductory canto, making a total of 100 cantos in the entire poem.

Inferno is the first part of this popular epic, presenting nine circles of hell across 33 cantos. It is an allegorical journey of the poet through hell, guided by the famous Roman poet Virgil, who leads Dante up to the limit a pagan could reach. Afterward, Dante’s beloved Beatrice guides him through the remaining circles. In each circle, Dante encounters sinners being punished according to the sins they committed on Earth. Those who repent and seek forgiveness are then released from torment and move on to Purgatorio. However, unrepentant individuals who believe their actions were justified face further punishment.

Dante not only encounters pagan virtuous souls in the first circle but also observes those who committed sins of lust and gluttony, suffering consequences for their actions.

First Circle in Dante’s Three Circles of Hell

The first circle is called Limbo, where various types of sinners, primarily virtuous pagans who did not accept Christ as their savior, are placed. This region includes a castle and green fields, where Dante encounters great poets from their times. According to Dante, virtuous non-Christians such as Homer, Ovid, Lucan, Euclid, Cicero, Hippocrates, Aristotle, Plato, and even Saladin reside in this circle. Beyond the first circle, individuals who have committed sins face punishment corresponding to the severity of their transgressions. Dante’s progress is halted by Minos, who is tasked with punishing those thrown into Inferno.

Second Circle in Dante’s Three Circles of Hell

In the second circle, known as the circle of lust, individuals who have committed the sin of lust are undergoing punishment. Dante refers to them as “carnal malefactors” because they failed to control their carnal desires for sensual pleasure. These souls are in a state where they have turned black, and powerful winds toss their souls about, denying them any rest. Dante encounters figures such as Dido, Cleopatra, Helen of Troy, Paris, Tristan, Semiramis, and others in this circle. He also hears the tale of Francesca da Ramini, who was punished for adultery and narrates how they succumbed to that sin by reading the romance of Lancelot and Guinevere. The ceaseless movement of these souls in the winds symbolizes the restlessness associated with lust, denying them any respite.

Third Circle in Dante’s Three Circles of Hell

The third circle of hell is designated for those who have committed the sin of gluttony. Despite the hindrance from a vile monster, Virgil successfully proceeds. The souls in this circle exist without sight and attention, surrounded by slush created by ceaseless rain. These souls are individuals who excessively indulged in food and drink, deviating from the Christian principles guiding a normal life. Dante encounters Ciacco in this circle, who had lived a life of great luxury and gluttony. His presence serves as a symbol to illustrate the severity of gluttony as a sin.

Conclusion: Dante’s Three Circles of Hell

In short, Dante intricately portrays sinful souls enduring punishments in various circles of hell. If these souls repent for their sins, they are cast further down into Purgatorio after facing death. Dante’s vivid descriptions symbolize the earthly commission of sins and the subsequent divine retribution in the afterlife. This section of the poem emphasizes the consequences faced by sinners, delineating the specific circle in hell where their sins have led them. It sheds light on their distressing circumstances and the plight in which they find themselves.

Works Cited: Dante’s Three Circles of Hell

Alighieri, Dante. The Divine Comedy: Inferno, Purgatorio & Paradiso. Good Press, 2023.

Relevant Questions Abou Dante’s Three Circles of Hell

1. Symbolism and Allegory in Dante’s Inferno:
   • How does Dante use the three circles of Hell as symbolic representations, and what allegorical meanings can be derived from each circle in “The Divine Comedy”?
2. Punishments and Moral Lessons:
   • What role do the specific punishments in each circle play in conveying moral lessons or illustrating the consequences of sin in Dante’s vision of Hell?
3. Theological and Philosophical Underpinnings:
   • How do Dante’s three circles of Hell align with theological concepts and philosophical ideas of his time? What theological or philosophical messages is Dante trying to convey through the structure and inhabitants of each circle?

Introduction: “The Aesthetics Imperative” and ” Patio Man”

Happiness or pleasure is an abstract concept and has been a subject of several controversies in “The Aesthetics Imperative” and “Patio Man.” Some people regard happiness as inner satisfaction, while others consider it a material gain. Spiritualists view happiness as an attainment of a higher state of thinking, while philosophers liken it to virtue. No single segment of learned individuals or intellectuals has agreed upon a common definition of what happiness is and how it is attainable.

However, the existing world of marketing mechanisms has found that human beings have a certain aesthetic sense that needs to be satisfied to win a greater market segment for a product, as Virginia Postrel has expounded upon in her article “The Aesthetic Imperative.” She argues that everybody has a vision of some material object from which they derive pleasure, defining this as happiness.

On the contrary, David Brooks believes that this sense of pleasure is, in fact, a form of competition in which the winner experiences a sense of satisfaction termed as happiness, albeit it comes with a price, as he argues in his essay “Patio Man.” John Schumaker, however, presents several differing concepts, from the Grecian idea of happiness akin to virtue to the social happiness of Nigerians and Ladakhis. Though he deems the concept of a sustainable or prolonged state of happiness a myth, he quotes John Updike, stating, “America is a vast conspiracy to make you happy,” and adds that happiness must be shared to mature. Nevertheless, there is no clear definition that Schumaker has agreed upon.

The reason for this lack of agreement is that no government can sustain or prolong happiness or legislate to dictate people to share it with others – it is nearly impossible. The reality is that the pursuit of material goods and greed for money may bring happiness to an individual’s life, but these things take away innocence. Therefore, happiness could be described as a spiritual experience or the fulfillment of a person’s goal or vision through competition, after which they may experience some emblem of happiness or momentary pleasure from aesthetic satisfaction.

Spiritual Happiness in “The Aesthetics Imperative” and ” Patio Man”

Happiness is genuinely a spiritual experience, whether it is fleeting or enduring. This assertion holds merit, as observed globally, where numerous poverty-stricken beggars lead fully satisfied and joyful lives. The mystic people of Ladakh, as highlighted by John F. Schumaker, serve as an exemplar of this spiritual happiness. Schumaker also cites examples of the impoverished in Kenya, who find happiness and enjoyment despite uncertainties about their next meal. According to Schumaker, their proximity to nature fosters true spiritualism, or it may be ingrained in their cultural practices, much like the Nigerians.

Schumaker argues that these communities have developed a value system grounded in “mutual respect, community-mindedness, an eagerness to share, reverence for nature, thankfulness, and love of life” (Schumaker 359). This value system distances them from the vices of modernity, such as avarice, greed, and violence. Their separation from the commercial world also shields them from “hurry sickness, toxic success syndrome, frantic family, and pleonexia” (Schumaker 368), creating a form of spiritualism untouched by materialism.

However, when development authorities attempted to implement plans in Ladakh, the people resisted. The commission had to acknowledge that the only way to induce acceptance of development was to instill greed, causing them to abandon their spiritualism. As a result, the onslaught of development brought modern issues like depression, family breakdowns, and crime. Ladakhis, encountering pollution and money for the first time, lost their mutual respect and love. Schumaker contends that happiness does not lie in growth, material possessions, or virtue; rather, it resides in living close to nature, where people build their social foundations on principles that enable them to find happiness even in poverty, akin to Nigeria, declared the happiest country on Earth.

Happiness as  Success in “The Aesthetics Imperative” and ” Patio Man”

Happiness, as suggested by David Brooks, can be perceived as a success in the pursuit of acquiring more luxuries and goods. This stems from an individual aligning their goals with the desire for a superior domestic life compared to others. The moment of happiness occurs when the person achieves their desired goal, as illustrated by Brooks in the example of “a man who is about to buy a first-class barbecue grill” (Brooks 324). This person, driven by the American dream or a shared societal aspiration, experiences elation upon acquiring the desired grill and proudly showcasing it to friends. Brooks emphasizes the pleasure derived from making others envious, as friends witness and discuss the individual’s wealth, status, and the success of his party.

For this individual, making others envious is the essence of true happiness, as he emerges successfully through the competition. His personal goal of having a family, all the amenities of life, and friends praising his success brings him inner satisfaction. As Brooks concludes, “This vision of domestic bliss is what Patio man has been shooting for all his life” (326). This domestic bliss represents the pinnacle of happiness for him, signifying a state of peace. However, this happiness is momentary and not sustainable or permanent. While the act of purchasing the barbecue grill brought immediate joy, the question remains unanswered as to whether this personal happiness is a lasting one.

Desires as Happiness and “The Aesthetics Imperative” and ” Patio Man”

Another facet of happiness lies in the fulfillment of personal wishes, offering momentary pleasure derived from aesthetics. Individuals find joy in possessing the best, most beautiful, or the most attractive objects for themselves, with aesthetics becoming an obsession where true happiness resides. Two crucial factors influencing a person’s happiness are their nature and culture. For instance, a person might appreciate “weather-beaten paint” due to its reminder of rustic origins, while another may have a passion for pop music because it evokes memories of their youth (Postrel 315).

Virginia Postrel, in her article “The Aesthetic Imperative,” argues that “the look and feel of things” have a profound impact on human imagination, a notion leveraged by multinational marketing experts to resonate with their audience emotionally. When a person purchases a product aligned with their aesthetic taste, they experience a sense of happiness. However, this happiness is fleeting, dissipating as the product loses its appeal, leading to a cycle of indulging in beautiful things. Postrel quotes Brown, highlighting that human beings are “visual, tactile creatures” who derive pleasure from things that bring them joy, forming the basis for fashion and style. She underscores the importance of the aesthetic imperative, asserting that it drives individuals to seek happiness, uniqueness, and satisfaction in the modern age. According to her, this pursuit is the essence of real happiness.

Controversy over Happiness in “The Aesthetics Imperative” and ” Patio Man”

However, none of them has agreed what happiness actually is. According to Brooks it is the success in competition in making domestic life a bliss, while Schumaker terms it a spiritual happiness that is life close to nature and away from the modern age and its ailments. However, Virginia Postrel terms happiness purchase of beautiful things, the reason that multinational companies always target customers according to their taste and style. The people make themselves beautiful, because they feel that they need to look beautiful. This makes them happy. However, as Schumaker has stated that this could be a personal feeling. The state of happiness depends on the culture, nature of the person, proximity to nature, and distance from the modern ailments. However, this is not all true. He is of the view that a good and mature happiness “must be shared—whether by those around or by tomorrow’s children” and if this is not so, it can be the source of depression (370). It is because a person becomes happy when happy people are around him, and he is sharing this happiness with others. This is contagious. Or in other words, the real happiness lies in helping others. Therefore, to say that real happiness is a personal matter is just a façade, because a person experience only transient happiness according to his own perceptions. When that transient moment, whether it is of competition or of personal achievement or of shopping spree, passes, the depression returns with full intensity. These are just modern ways of filling a void in the spirit. Otherwise, there is no such thing as personal happiness. The happiness lies only in sharing it with others. This could be called sustainable happiness, or else it is the same transient fit of happiness that a person experiences.

Works Cited: “The Aesthetics Imperative” and ” Patio Man”

1. Postrel, Virginia. “The Aesthetic Imperative.” Wired, 1 July 2003, https://www.wired.com/2003/07/the-aesthetic-imperative/.
2. Brooks, David. On Paradise Drive: How We Live Now (And Always Have) in the Future Tense, 2 June 2005, Paperback.
3. Schumaker, John F. “The Happiness Conspiracy: What Does it Mean to be Happy in a Modern Consumer Society.”

Relevant Questions about “The Aesthetics Imperative and ” Patio Man”

1. In Virginia Postrel’s “The Aesthetic Imperative,” how does the author explore the relationship between aesthetics and happiness? How does she argue for the significance of aesthetics in our lives, and what implications does this have for our overall well-being?
2. Considering David Brooks’ book “On Paradise Drive: How We Live Now (And Always Have) in the Future Tense,” how does the author discuss the pursuit of happiness in the context of contemporary living? What societal trends or cultural aspects does Brooks highlight as influencing our understanding of happiness in the present and future?
3. In John F. Schumaker’s “The Happiness Conspiracy: What Does it Mean to be Happy in a Modern Consumer Society,” what perspectives does the author present regarding happiness in the context of a modern consumer-driven society? How does Schumaker analyze the cultural and societal factors that may impact individuals’ pursuit and understanding of happiness in such a setting?

Introduction: US Civil War

The Civil War, also known as the conflict between the South and North, erupted in 1861 when around 11 Southern states, including South Carolina, Alabama, and Georgia, seceded from the North and formed the Confederacy in opposition. Hostilities between both sides persisted for four years, resulting in the loss of more than 650,000 lives. While there were various reasons for secession, the primary drivers were economic, with slavery or sectionalism playing a major role.

Between 1815 and 1861, the North embraced industrialization, leading to modernization across agriculture, transportation, finance, education, printing, and communication. In contrast, the South clung to its agro-based economy, relying on slavery for free labor. Southerners prioritized slavery over progress, causing the prices of agricultural products to soar alongside the value of slaves. This economic disparity continued to grow until Abraham Lincoln assumed power in 1860, prompting Southern states to fear the abolition of slavery and decide to secede.

President Lincoln and the Northern States opposed this decision, declaring it illegal and unconstitutional. Despite hopes for a peaceful settlement, both sides engaged in a war that spanned four years. Each side had distinct differences, opportunities, and advantages that shaped their attitudes toward the conflict.

Northern States and US Civil War

The northern states, remaining within the United States, viewed the secession of the South as both illegal and unconstitutional, posing a significant threat to the principles upon which the Union was established. With the election of President Lincoln, concerns heightened as the South seemed to be gaining economic advantages that could jeopardize the unity of the Union.

Northern leaders were determined to counter this threat at any cost, leveraging their resources advantage. The Union held a numerical edge over the Confederate forces, with a two-to-one ratio in potential fighting population if a war were to erupt. Furthermore, the North had made substantial industrial progress, boasting over 97 percent of factories manufacturing weapons.

The North was confident that its larger and better-equipped army, coupled with superior weaponry, would ultimately ensure victory. The sectional differences that had widened over the past forty years seemed irreconcilable, prompting northern leaders to believe that a decisive resolution was necessary.

Additionally, the presence of the entire Union Navy in the North provided a strategic advantage. The ability to effectively choke off the South’s cotton exports would cut into their income resources. The North’s superior transportation infrastructure for logistic support, both for the army and the navy, as well as efficient communication between forces, played pivotal roles in securing victory over the South.

Southern States and US Civil War

While the South did not fully embrace the technological revolution, it maintained a significant financial advantage over the North. The high demand for cotton resulted in substantial income, and the value of slavery, viewed as a form of property, multiplied. Consequently, more individuals in the South were wealthier than their counterparts in the North. The growing disparity over slavery fueled the desire to secede, as it represented a crucial source of income for the Southern states.

Southern leaders perceived various strategic benefits in secession. The majority of military generals hailed from the South, and seven out of a total of eight military colleges—the primary source of military officers—were located in the region. The South not only controlled the delta of the Mississippi River but also possessed more seaports. Their defensive position allowed them to fight on familiar terrain, leveraging their knowledge of the land to combat invading forces effectively.

Additionally, having slaves on their side provided the South with a workforce for military efforts, eliminating concerns about food and supply shortages on their own agricultural land. The economic and strategic considerations further fueled the Southern decision to secede and defend their interests during the Civil War.

Similarities and Differences in US Civil War

While some similarities existed between the North and the South, notable differences prevailed. Agriculturally, the North lagged significantly behind the South, characterized by small farms in contrast to the large farms in the Southern states. Notably, labor was free in the North, whereas slavery persisted in the South, representing a major divergence. Southern landowners perceived the abolition of slavery as a threat to their financial dominance.

Strategic disparities also emerged. While the North boasted more weapon factories, the South had an advantage in terms of trained generals and military colleges. The North had well-developed transportation and communication systems, including roads and railways, while the South benefited from fighting on its own familiar land. Southerners had a larger slave population to support their military efforts and strategically positioned locations.

In terms of education, the North outpaced the South, with a higher percentage of children attending schools compared to the widespread illiteracy in the South. Political differences also surfaced, with Republicans being popular in the North and Democrats in the South.

The North leveraged its industrial progress to its advantage, ultimately overwhelming the South. To achieve victory, the North set strategic goals, including capturing the Mississippi River to lift the blockade on imports and isolating the South from the rest of the world. These incremental victories contributed to greater success over the four-year war, breaking the resolve of the South. The North emerged victorious, and the subsequent Reconstruction period aimed to address the widespread destruction and casualties, initiating the healing process.

Bibliography: US Civil War

1. Ayers, Edward L. “What Caused the Civil War?” North & South: The Official Magazine of the Civil War Society 8.5 (2005): 12.
2. Fahs, Alice. The Imagined Civil War: Popular Literature of the North & South, 1861-1865. Univ of North Carolina Press, 2001.

Relevant Questions about US Civil War

1. What are the main arguments presented by Edward L. Ayers in the article “What Caused the Civil War?” regarding the causes of the U.S. Civil War?
2. How does Alice Fahs explore the portrayal of the Civil War in popular literature in her book “The Imagined Civil War: Popular Literature of the North & South, 1861-1865”? What insights does she provide into the cultural and social aspects of the war as depicted in literature?
3. In the context of Ayers’ and Fahs’ works, how did differing perceptions and narratives of the Civil War between the North and South contribute to the conflict? How did popular literature play a role in shaping public opinion and understanding of the war during that time?