This paper applies the theories developed by Marcel Mauss to August Wilson's drama" Fences".
Written in 2009; 1,765 words; 2 sources; MLA; $ 56.95
Paper Summary:
This paper explains that sociologist and anthropologist Marcel Mauss' theories of self and personhood are apparent in the play "Fences" by August Wilson. For example, the author describes Mauss' theory on names and points out that, in Wilson's play, the ability of an individual to be called by his first name or last name is significant for African Americans, who are often not addressed by the honorific title of "Mister" in white society. The paper concludes that, unlike Mauss' concept of the fully evolved Western man, identity is still intensely performance-based in Wilson's vision of society; however, the use of masks and performances are seen as merely surfaces and concealing a deeper psychological reality.
From the Paper:
"The role play in "Fences" does not come without a psychological and social cost--Wilson suggests it is psychologically damaging, calling into question the ease of assuming different identities, and to some extent affirming Mauss' suggestion that there is something superior to the Western concept of the interior and unchanging self that exists beyond a world of performance and masks. In contrast to the other characters of the play, Troy in particular feels contempt and hatred for white society, given that his great gifts as an athlete were denied full and free expression because of the segregation of white and 'Negro' leagues until the signing of Jackie Robinson with the Brooklyn Dodgers broke the color barrier. Because of Troy's evident psychological damage, the play suggests that a core side of Troy's self, a desire for mastery over his environment is fixed and unchanging in a way that it is not for Mauss' so-called primitive individuals.
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