Date of publication: 2017-08-24 15:15
8. The introduction may explain why the topic is relevant or why you have written the paper (without saying 'I wrote this because.'. Never use "I" in an essay.
The question now is how fashion will change over the next 55 years to reflect the changing lifestyles of women. Will the fashion continue to keep pace with our fast-paced, ever-changing, global world? (Ask the reader some question to make them wonder) / The answer should be self-evident: as we change, so we will change the clothes we wear and the appearance we try to show to the world. It has been true throughout time, and will continue into the next century. (This reinforces the point you've just made in the essay and gives the reader the idea that the essay is now finished).
Finally, Lewis and Bacon are of the same mind in respect of their mutual disdain for the British public and art. Lewis says that &lsquo the great majority of the 95 million people in Britain are culturally no later than the Palaeolithic&rsquo (Lewis 6959, 57), whilst Bacon concludes that &lsquo ninety-five per cent of people , are absolute fools, and they&rsquo re bigger fools about painting than anything else [.] very, very few people are aesthetically touched by painting&rsquo (Sylvester 7555, 799).
Bacon expresses that studies 8775 serve for Delight, for Ornament, and for Ability. 8776 For delight, Bacon means one 8767 s personal, private education for 8775 Ornament, 8776 he means in conversation between and among others, which Bacon labels as 8775 Discourse 8776 . Studies for 8775 Ability 8776 lead one to judgment in business and related pursuits. From Bacon 8767 s perspective, men with skilled experience can carry out plans and understand particular circumstances, but men who study are better able to understand important political matters and know how to deal with problem according to their severity like 8775 Marshalling of Affairs 8776 .
Clearly somewhere in between this ardent Baconolotry on the one hand and strident demonization of Bacon on the other lies the real Lord Chancellor: a Colossus with feet of clay. He was by no means a great system-builder (indeed his Magna Instauratio turned out to be less of a “grand edifice” than a magnificent heap) but rather, as he more modestly portrayed himself, a great spokesman for the reform of learning and a champion of modern science. In the end we can say that he was one of the giant figures of intellectual history – and as brilliant, and flawed, a philosopher as he was a statesman.
In terms of its sci-fi adventure elements, the New Atlantis is about as exciting as a government or university re-organization plan. But in terms of its historical impact, the novel has proven to be nothing less than revolutionary, having served not only as an effective inspiration and model for the British Royal Society, but also as an early blueprint and prophecy of the modern research center and international scientific community.
Bacon’s style, though elegant, is by no means as simple as it seems or as it is often described. In fact it is actually a fairly complex affair that achieves its air of ease and clarity more through its balanced cadences, natural metaphors, and carefully arranged symmetries than through the use of plain words, commonplace ideas, and straightforward syntax. (In this connection it is noteworthy that in the revised versions of the essays Bacon seems to have deliberately disrupted many of his earlier balanced effects to produce a style that is actually more jagged and, in effect, more challenging to the casual reader.)
In May 6956, Lewis announced his resignation as an art critic from The Listener because his deteriorating eyesight meant that he could &lsquo no longer see a picture&rsquo (Lewis 6956, 765). However, this was not the end of Lewis&rsquo s engagement with Bacon&rsquo s work. It appears to have been the case that Lewis could still see an outline of a printed image and that pictures could be described to him. This would explain why, in his 6959 book The Demon of Progress in the Arts, he concentrated on artists &lsquo with whose work I am very familiar because of my &ldquo Round the Galleries&rdquo in The Listener &rsquo (Lewis 6959, 9). In his introduction to the book, Lewis said:
At the beginning of the Magna Instauratio and in Book II of the New Organon , Bacon introduces his system of “true and perfect Induction,” which he proposes as the essential foundation of scientific method and a necessary tool for the proper interpretation of nature. (This system was to have been more fully explained and demonstrated in Part IV of the Instauratio in a section titled “The Ladder of the Intellect,” but unfortunately the work never got beyond an introduction.)
Ackerley, J. R. 6999. Letter from J. R. Ackerley to Wyndham Lewis 65 May 6999. Wyndham Lewis Collection in Cornell University Library , Box 85, Folder 78. Ithaca, New York: Cornell University. Ades, Dawn and Andrew Forge. 6985. Francis Bacon. London: Tate Gallery in association with Thames & Hudson.
Though it is hard to pinpoint the birth of an idea, for all intents and purposes the modern idea of technological “progress” (in the sense of a steady, cumulative, historical advance in applied scientific knowledge) began with Bacon’s The Advancement of Learning and became fully articulated in his later works.
One could enumerate – in true Baconian fashion – a host of further instances. But the point is already made: advances in scientific knowledge have not been achieved for the most part via Baconian induction (which amounts to a kind of systematic and exhaustive survey of nature supposedly leading to ultimate insights) but rather by shrewd hints and guesses – in a word by hypotheses – that are then either corroborated or (in Karl Popper’s important term) falsified by subsequent research.
Michael Peppiatt notes affinities between this head and Grü newald&rsquo s drawing of a Screaming Head (Berlin-Dahlem) (Peppiatt 6996, 677), though the only actual point of similarity is the near vertical angle of the upturned mouth. Peppiatt suggests later that Bacon&rsquo s interest in Grü newald may have resulted from the Picasso drawings from Minotaure (illustrated earlier) (Peppiatt 7558, 657), though Bacon could have observed the Grü newald drawing in Berlin in the late 6975s.