In dealing with the individual works, I have attempted to analyze the structural element first, and then to deduce the novel's meaning, or theme, making use, wherever it is possible, of the results of the analysis of structure. In addition, I have attempted to reveal the development of certain themes from one novel to another, and certain developments in characterization and general design. I have attempted to reveal the relationship of the structure and thematic aspects of the individual works to Fizgerald's work as a whole. Finally, I have attempted to demonstrate Fitzgerald's relationship with certain of this peers and forebears in the American novel.

Thesis (Ph. D.)--Northwestern University, Evanston, Illinois, 1985.

No description available.

Treatise (D.M.A.) -- Florida State University, 2004. / Advisor: Douglas Fisher, Florida State University, School of Music. Title and description from treatise home page (viewed 2-10-05). Document formatted into pages; contains 100 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (B.A.Hons.) from the Dept. of Politics, University of Adelaide. / Typescript (photocopy).

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1978. / Made available in DSpace on 2013-12-05T19:00:30Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T13:24:24Z : No. of bitstreams: 1 321743.pdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)

Submitted by Jassyara Conrado Lira da Fonseca null (cissa.conrado@gmail.com) on 2017-07-17T15:12:47Z No. of bitstreams: 1 versãofinal.pdf: 2325131 bytes, checksum: 906a11ecf68bf8f7a9fc8f5415661be0 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-18T19:37:37Z (GMT) No. of bitstreams: 1 fonseca_jcl_dr_arafcl.pdf: 2325131 bytes, checksum: 906a11ecf68bf8f7a9fc8f5415661be0 (MD5) / Made available in DSpace on 2017-07-18T19:37:37Z (GMT). No. of bitstreams: 1 fonseca_jcl_dr_arafcl.pdf: 2325131 bytes, checksum: 906a11ecf68bf8f7a9fc8f5415661be0 (MD5) Previous issue date: 2017-05-19 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa desenvolve-se em torno da análise comparada das obras “Cena Trimalchionis” – ou “O Banquete de Trimalquião” – episódio inserido no Satyricon, de Petrônio (? -65d. C.) e Trimalchio, uma primeira versão da obra The Great Gatsby, de F. Scott Fitzgerald (1896-1940). A aproximação dos textos é feita pelo narrador de Trimalchio que compara Gatsby a Trimalquião, e acentua-se no título dado à versão publicada em 2000, que declara o caráter intertextual da narrativa, que aqui será pensado com Julia Kristeva (1974). Partimos dessa relação para a observação de um tema comum às duas obras: o da carnavalização, desenvolvido por Bakhtin (1981;1986;1993). A partir da investigação de aspectos típicos do carnaval encontramos similaridades na composição de personagens e cenários e estudamos tal composição por meio de figuras que vemos repetidas na duas obras. Para o estudo dessas figuras nos valemos da teoria semiótica da figuratividade, seguindo, principalmente, os preceitos de Bertrand (2003), apoiando-nos também nas análises de Fiorin (2014). A inovadora obra de Petrônio desafia os estudiosos na classificação de seu gênero, todavia é possível observar importantes características da sátira menipeia, o que ratifica o caráter carnavalizado da narrativa. O romance de Fitzgerald, inegavelmente autônomo, ganha um novo realce ao dialogar com o texto latino. / This research develops around the comparative analysis of the piece “Cena Trimalchionis” – or "Trimalchio’s Feast", episode inserted in Petronius’ (?-65d.C.) Satyricon; and Trimalchio, a first version of the novel The Great Gatsby, by F. Scott Fitzgerald (1896-1940). The parallel between the texts is made by the narrator of Trimalchio who compares Gatsby to Trimalchio, and is emphasized in the title given to the version published in 2000, which declares the intertextual character of the narrative, which will be thought here with Julia Kristeva (1974). We start from this relation for the observation of a theme common to both works: the one of carnivalization on literature, developed by Bakhtin (1981, 1986, 1993). From the investigation of typical aspects of carnival we find similarities in the composition of characters and scenarios and study this composition through figures that we see repeated in both works. For the study of these figures we use the semiotic theory of figurativity, following mainly the precepts of Bertrand (2003), also supporting this research in the analyzes of Fiorin (2014). The innovative work of Petronius challenges the scholars in the classification of its genre, however it is possible to observe important characteristics of the menippean satire, which confirms the carnavalized disposition of the narrative. Fitzgerald's novel, undoubtedly autonomous, gains a new accent when dialoguing with the Latin text. / FAPESP: 2013/15226-4

This thesis discusses the stylistic development of Lionel LeMoine FitzGerald (1890-1956) as seen in his dated oil paintings. Chapter I outlines FitzGerald's formative years (1890-1919). It attempts to explain how his love of the prairies and interest in art developed. It suggests the dominant influences in his study of art. It includes a stylistic discussion of FitzGerald's earliest works, including his well known, Late Fall, Manitoba (1918). Chapter II attempts to explain why FitzGerald suddenly lightened and brightened his palette. It explores the sources which may have influenced the development of FitzGerald's impressionistic style (1920-October 1921) and it provides a stylistic analysis of two of his impressionistic works, Summer East Kildonan (1920) and Summer Afternoon, The Prairie (1921). Chapter llldiscusses the importance of FitzGerald's first trip to New York, his study at the Art Students' League (December 1921 - May 1922) and his study of the works of European masters at the Metropolitan Museum. It explores the influence his two art instructors, Boardman Robinson and Kenneth Miller may have had on his work. It also suggests the importance of the works of Cezanne to FitzGerald's development. Chapter IV discusses the new directions FitzGerald pursued upon his return from New York. It reveals that FitzGerald's new style of painting, as seen in Potato Patch, Snowflake (1925) was fairly dependent on the external influences he had seen while in New York. This chapter also discusses the importance of FitzGerald's appointment as instructor for the Winnipeg School of Art, to his development of a new more studied style, as seen in Williamson's Garage (1927). Chapter V explores the influences of his second trip to the East (June 1 -July 1, 1930) on his artistic development, through revealing statements drawn from FitzGerald's Diary. Chapter VI reveals FitzGerald's striving towards more personal expressions during the thirties and forties, as seen in three major works from this period, Doc Snider's House (1931), Jar (1938), and Still Life: Two Apples (1940). Chapter VII discusses FitzGerald's gradual move towards abstraction. Suggestions of this direction, are already noted in From an Upstairs Window, Winter (1948). It includes a stylistic analysis of two abstract works, Composition No. 1 (c. 1950-51) and Abstract: Green and Gold (1954). The last major oil, Hat (1955), is discussed in terms of a final statement made by the artist. An attempt is made to determine the essential characteristics of FitzGerald's paintings, which enable them to transcend their regional boundaries and speak to all of Canada. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

For years F. Scott Fitzgeralds <i>The Great Gatsby</i> has garnered attention from critics as having a relationship to American transcendentalist thought. While most acknowledge Jay Gatsbys corruption and materialism, they continue to hold on to a belief in his supposed idealism and difference from other characters in the novel. Even critics who note irony in the novel do not recant their arguments regarding Gatsbys romanticism. One cannot make a straightforward connection between transcendentalists such as Ralph Waldo Emerson and Henry David Thoreau without noting how Gatsby is truly a perversion of transcendental ideals. Specifically, in examining Gatsby with Emersons concept of self-reliance in mind, it is clear that Fitzgerald could never see Gatsby as a self-reliant individual. Indeed, Gatsby fails in every test that can identify him as being a self-reliant man. He is materialistic; he breaks the law for no larger purpose; he loves an insignificant and vapid woman who is as materialistic as the rest of this corrupt society; he has no true identity; does not dispute the contention that the ideal of self-reliance is noble, it argues that such an ideal is unrealizable in the corrupt and materialistic society of the Jazz Age.