Unravelling the Distorted Foucauldian Panopticism Epitomized in the Suicidal Tortures of Esther Greenhood in The Bell Jar

Notwithstanding close critical attention has been paid to the essential victimization of the intellectual women and non-intellectual women who have been tossed and tortured in their unbearable lives and experiences in the increasing interpretation of the female characterization of this novel The Bell Jar (1963), inadequate critical concern has been shown to reveal the distorted power mechanism and power institutionalism implied in the contextualization of the gloomy social and cultural disciplines effective in the despotic disturbance and interference of the actions and thoughts of most intellectual women and non-intellectual women in 1950s in American society and American culture as indicated in the very ingenuous and insightful production of this novel extremely valuable for the adequate clarification of the executive essence of those hegemonic and demonic disciplines. For the sake of the ideological and epistemological essence of this disciplinary confinement and enslavement engendered in the vicious and malicious disciplines implemented in the entire society where Sylvia Plath has lived, this paper aims to uncover the quite malicious distortion of Foucauldian panopticism implemented in the formation and reformation of the power mechanism and power institutionalism implemented to persecute intellectual women and non-intellectual women as what has been insinuated into the ideological and epistemological veins of this novel according to the surveillance, inspection, and, supervision of this Foucauldian panopticism to have a good access to the true reasons of the suicidal tragedies and tragic traumas of Esther Greenhood who has been caught in the fatal threat of this power mechanism and power institutionalism witnessed in the ideological and epistemological stupefaction and sterilization of those intellectual women and non-intellectual women whose efforts have turned out to be futile when their entire lives and lots have been captured by the demonic dominator or governor of American society and American culture at that time

A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America

Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower social position as well as their unfair treatment in American society that has been dominated by their counterparts’ culture through the careful combination of his poems with the unbearable experience they have been suffering from. What they haven’t focused on in their respective studies of dark brothers’ discriminated culture is a sound and detailed discussion about the dark brothers’ empirical bitterness in the whole textual spaces of one of their academic essays or monographs in correspondence to one of his poems. To reduce the academic limitations in this respect, this essay will take one of his poems, I, Too, Sing America, as an analytical example to give a culturalist interpretation of the dark brothers’ sound bitterness