A obra literária de F. Scott Fitzgerald pode ser entendida como um enfrentamento do paradoxo da narração apontado por Theodor Adorno, decorrente da desintegração do sentido da experiência e da consequente impossibilidade de sua articulação objetiva por parte de quem a experiencia. A figuração que Fitzgerald faz da sociedade norte-americana da década de 1920 é formalizada em O Grande Gatsby (1925) e Suave É a Noite (1934) por meio da incorporação da tradição literária que antecede sua obra, bem como de técnicas do cinema mudo e sonoro e do modernismo europeu. Com isso, Fitzgerald visa evidenciar, em ambos os romances, a falsidade da ideologia do sonho americano. Uma vez que O Grande Gatsby e Suave É a Noite foram publicados antes e depois da crise econômica de 1929, respectivamente, o autor figura sob dois pontos de vista distintos a década de 1920, a fim de mostrar que tal crise revela que o empreendimento individual não é o meio para alcançar o sonho americano, mas apenas uma engrenagem no funcionamento contraditório do capitalismo. / F. Scott Fitzgeralds novels may be read as a confrontation of the paradox that defines the position of the narrator, as theorized by Theodor Adorno, resulted from the disintegration of the sense of experience and the consequent impossibility of its objective articulation on the part of those who experience it. Fitzgeralds figuration of the American society of the 1920s is formalized in The Great Gatsby (1925) and in Tender Is the Night (1934) via the incorporation of the literary tradition that precedes his work, as well as silent and sound film and modernist techniques. Thereby, Fitzgerald aims to expose in both of these novels the falseness of the ideology of the American dream. Since The Great Gatsby and Tender Is the Night were published before and after the economic crisis of 1929 respectively, Fitzgerald represents the 1920s from two distinct points of view in order to highlight the fact that such crisis reveals that the individual enterprise is not the means to achieve the American dream but only a part in the contradictory operation of the machinery of capitalism

O objetivo desta dissertação é analisar como a contradição presente na narração do romance The Great Gatsby de F. Scott Fitzgerald expõe as tensões sociais e históricas dos Estados Unidos dos anos 1920. Tal contradição, revelada na linguagem e no conteúdo da obra, exige uma leitura atenta do descompasso entre o ponto de vista do narrador memorialista e os valores morais que ele apresenta no início do romance. Exploraremos de que forma o movimento reflexivo da narração de Nick Carraway demonstra a tentativa de construção de entendimento dos fatos por meio da reconstrução das memórias, e como essa reflexão leva o narrador a desvelar a alienação e compreender os meandros da sociedade norte-americana no período pós-Primeira Guerra Mundial. / The aim of this dissertation is the analysis of the contradiction present in the novel The Great Gatsby by F. Scott Fitzgerald and how it exposes the social and historical tensions of the United States of America during the 1920s. Such contradiction, which is revealed in the language and content of the novel, demands a thorough reading of the mismatch between the point of view of the memoirist narrator and the moral values he presents in the beginning of the text. We explore how the reflexive movement of Nick Carraways narration shows his attempt to build understanding of the facts by the reconstruction of his memories, and how this reflection leads the narrator to unveil alienation and understand the intricacies of post-World War I American society.

A obra literária de F. Scott Fitzgerald pode ser entendida como um enfrentamento do paradoxo da narração apontado por Theodor Adorno, decorrente da desintegração do sentido da experiência e da consequente impossibilidade de sua articulação objetiva por parte de quem a experiencia. A figuração que Fitzgerald faz da sociedade norte-americana da década de 1920 é formalizada em O Grande Gatsby (1925) e Suave É a Noite (1934) por meio da incorporação da tradição literária que antecede sua obra, bem como de técnicas do cinema mudo e sonoro e do modernismo europeu. Com isso, Fitzgerald visa evidenciar, em ambos os romances, a falsidade da ideologia do sonho americano. Uma vez que O Grande Gatsby e Suave É a Noite foram publicados antes e depois da crise econômica de 1929, respectivamente, o autor figura sob dois pontos de vista distintos a década de 1920, a fim de mostrar que tal crise revela que o empreendimento individual não é o meio para alcançar o sonho americano, mas apenas uma engrenagem no funcionamento contraditório do capitalismo. / F. Scott Fitzgeralds novels may be read as a confrontation of the paradox that defines the position of the narrator, as theorized by Theodor Adorno, resulted from the disintegration of the sense of experience and the consequent impossibility of its objective articulation on the part of those who experience it. Fitzgeralds figuration of the American society of the 1920s is formalized in The Great Gatsby (1925) and in Tender Is the Night (1934) via the incorporation of the literary tradition that precedes his work, as well as silent and sound film and modernist techniques. Thereby, Fitzgerald aims to expose in both of these novels the falseness of the ideology of the American dream. Since The Great Gatsby and Tender Is the Night were published before and after the economic crisis of 1929 respectively, Fitzgerald represents the 1920s from two distinct points of view in order to highlight the fact that such crisis reveals that the individual enterprise is not the means to achieve the American dream but only a part in the contradictory operation of the machinery of capitalism

O objetivo desta dissertação é analisar como a contradição presente na narração do romance The Great Gatsby de F. Scott Fitzgerald expõe as tensões sociais e históricas dos Estados Unidos dos anos 1920. Tal contradição, revelada na linguagem e no conteúdo da obra, exige uma leitura atenta do descompasso entre o ponto de vista do narrador memorialista e os valores morais que ele apresenta no início do romance. Exploraremos de que forma o movimento reflexivo da narração de Nick Carraway demonstra a tentativa de construção de entendimento dos fatos por meio da reconstrução das memórias, e como essa reflexão leva o narrador a desvelar a alienação e compreender os meandros da sociedade norte-americana no período pós-Primeira Guerra Mundial. / The aim of this dissertation is the analysis of the contradiction present in the novel The Great Gatsby by F. Scott Fitzgerald and how it exposes the social and historical tensions of the United States of America during the 1920s. Such contradiction, which is revealed in the language and content of the novel, demands a thorough reading of the mismatch between the point of view of the memoirist narrator and the moral values he presents in the beginning of the text. We explore how the reflexive movement of Nick Carraways narration shows his attempt to build understanding of the facts by the reconstruction of his memories, and how this reflection leads the narrator to unveil alienation and understand the intricacies of post-World War I American society.

This is a critical study of F. Scott Fitzgerald‟s Tender Is the Night focusing primarily on the lack of examination and criticism surrounding the women characters. Included are reviews of Fitzgerald‟s personal and professional life from the publication of his critically acclaimed The Great Gatsby until the publication of his last complete novel, Tender Is the Night, discussion of the contemporary and current criticism of the novel, and a feminist reading of the novel in order to focus more significant critical attention upon the women characters in order to create a fuller understanding of Fitzgerald‟s novel.

F. Scott Fitzgerald was a product of the era he was at his zenith: the roaring 1920s. By the time he arrived in Los Angeles, he was short on money and the audience for his novels and writing was waning. This work explores his time in L.A., his attitude toward cinema & the Hollywood system, and how he incorporated what he learned from screenwriting into The Last Tycoon, the unfinished novel that Fitzgerald aimed to revive his own career with.

In Tender Is the Night, F. Scott Fitzgerald retells the story of the Fall from Genesis through psychologist Dick Diver and his wife and patient Nicole, drawing poetic and thematic inspiration from John Milton’s Paradise Lost. This essay traces the progression of the Divers’ fall and ultimate separation through the novel’s three books and considers how the highly autobiographical foundation of the novel, which has drawn considerable critical attention, may in fact allow Fitzgerald to craft a work that aligns with and simultaneously expands upon Milton’s interpretation of the Fall.

In Tender Is the Night, F. Scott Fitzgerald retells the story of the Fall from Genesis through psychologist Dick Diver and his wife and patient Nicole, drawing poetic and thematic inspiration from John Milton’s Paradise Lost. This essay traces the progression of the Divers’ fall and ultimate separation through the novel’s three books and considers how the highly autobiographical foundation of the novel, which has drawn considerable critical attention, may in fact allow Fitzgerald to craft a work that aligns with and simultaneously expands upon Milton’s interpretation of the Fall.

Thesis (M.A.)--Eastern Illinois University, 2008. / Includes bibliographical references (leaves 77-84).

The aim of this diploma thesis is to analyse the world of F. Scott Fitzgerald's novels This Side of Paradise, Tender is the Night and his unfinished novel The Last Tycoon as the world built on the system of significant contradictions and binary oppositions. This fact causes remarkable tensions in the texts. On the other hand, it proves their complexity. The matter of interpretation is the working of the society as the whole, but also the analysis of characters and their mutual relationships, as well as the concrete features of single characters, which are often built on the oppositions.