The financial crisis of 2008 has been the most significant global economic phenomenon of the new century. Sudden and largely unanticipated, this crisis nonetheless marks the latest in a series of financial panics that forms a welldocumented feature of finance capitalism stretching back to the Dutch Tulip Bubble of 1637 and beyond, including such notorious crises as the South Sea Bubble of 1720, the Railway Shares panics of 1837 and 1847, the Wall Street Crash of 1929, and Black Monday in 1987. These and other crises have fostered a complex and diverse intellectual response - particularly since the South Sea Bubble - that has included interventions not only from economists and economic historians, but poets, dramatists, novelists, and others. This raises the question of whether the novel’s contribution to our wider understanding of financial crises has been fully acknowledged and assessed. In this thesis, the complex and shifting relationship between literary and non-literary responses to financial crisis is explored through an examination of the ideas of political economists, philosophers, journalists, financiers, and others, including Adam Smith, David Ricardo, Lord Overstone, Walter Bagehot, Herbert Spencer, Thorstein Veblen, Joseph Schumpeter, and J.M. Keynes, that situates their theories alongside readings of novels of financial crisis from the 1850s onward.

This thesis explores the languages of Native policy in New Zealand’s General Assembly from 1858 to 1862. It argues, aligning with the scholarship of Peter Mandler and Duncan Bell, that a stadial discourse, which understood history as a progression from savage or barbarian states to those of civility, was the main paradigm in this period. Other discourses have received attention in New Zealand historiography, namely Locke and Vattel’s labour theory of land and Wakefield’s theory of systematic colonization; but some traditions have not been closely examined, including mid-Victorian Saxonism, the Burkean common law tradition, and the French discourse concerning national character. This thesis seeks to delineate these intellectual contexts that were both European and British, with reference to Imperial and colonial contexts. The thesis comprises a close reading of parliamentary addresses by C. W. Richmond, J. E. FitzGerald and Henry Sewell.

This thesis explores the languages of Native policy in New Zealand’s General Assembly from 1858 to 1862. It argues, aligning with the scholarship of Peter Mandler and Duncan Bell, that a stadial discourse, which understood history as a progression from savage or barbarian states to those of civility, was the main paradigm in this period. Other discourses have received attention in New Zealand historiography, namely Locke and Vattel’s labour theory of land and Wakefield’s theory of systematic colonization; but some traditions have not been closely examined, including mid-Victorian Saxonism, the Burkean common law tradition, and the French discourse concerning national character. This thesis seeks to delineate these intellectual contexts that were both European and British, with reference to Imperial and colonial contexts. The thesis comprises a close reading of parliamentary addresses by C. W. Richmond, J. E. FitzGerald and Henry Sewell.

Abstract This thesis attempts to contribute to both intermedial studies and F. Scott Fitzgerald scholarship by studying the text-illustration interplay in two versions of “The Rich Boy”. Intermediality, which pays close attention to media interactions, is a natural method to explore the word-image relations in these texts: the first version, published in Red Book Magazine in 1926, and an illustrated Spanish translation from 2012.             Lars Elleström’s definition of media as a combination of modes and modalities, plays a central role in the analysis, where I study how these interact in each text: For instance, in terms of the material and sensorial modalities, both illustrators try to simulate depth and convey the senses in a flat interface. In terms of the spatiotemporal modality, the anachronies in the time placement of Gruger’s images intensify the nostalgic mood in the text, while Ágreda’s adherence to the text’s time relays a certain autonomy. Both their treatments of space are often symbolic; thus, regarding the semiotic modality, the images are symbolic besides iconic. Each text is colored by the reading of the illustrator, who is also a reader and interpreter.             The theoretical framework also comprises of an approach to nostalgia: While Fitzgerald’s story is nostalgic per se, the illustrators display variations of nostalgia: Gruger’s work mirrors and enhances the nostalgic mood of the text, and while to a certain extent, Ágreda’s also does this, his nostalgia is most manifest in how he attempts to recreate a particular picture of the Jazz Age.

This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello

The overview of contributions to metaphor theory in Chapters 1 and 2, examined in reference to recent scholarship, suggests that the current theory of metaphor derives from long-standing traditions that regard metaphor as a crucial process of cognition. This overview calls to attention the necessity of a closer inspection of previous theories of metaphor. Chapter 3 takes initial steps in synthesizing views of domains of inquiry into cognitive processes of the human mind. It draws from cognitive models developed in linguistics and anthropology, taking into account hypotheses put forth by psychologists like Jung. It sets the stage for an analysis that intends to further understanding of how the East-West dichotomy guides, influences, and expresses cognitive processes. Although linguist George Lakoff denies the existence of a connection between metaphors, myths, and archetypes, Chapter 3 illustrates the possibility of a relationship among these phenomena. By synthesizing theoretical approaches, Chapter 3 initiates the development of a model suitable for the analysis of the East-West dichotomy as exercised in Chapter 4. As purely emergent from bodily experience, however, neither the concept of the East nor the concept of the West can be understood completely. There exist cultural experiences that may, depending on historical and social context, override bodily experience inclined to favor the East over the West because of the respective connotations of place of birth of the sun and place of death of the sun. This kind of overriding cultural meaning is based on the “typical, frequently recurring and widely shared interpretations of some object, abstract entity, or event evoked in people as a result of similar experiences. To call these meanings ‘cultural meanings' is to imply that a different interpretation is evoked in people with different characteristic experiences. As such, various interpretations of the East-West image-schema exist simultaneously in mutually exclusive or competing forms, as the analysis of Gatsby and the reversal of the values of East and West in the context of colonizing and counter-colonizing attitudes suggests.

Abstract This essay is an analysis of F. Scott Fitzgerald’s The Great Gatsby and it explores how identity and ideology always exist in a context of time. The American 1920s society was influenced by theories brought by Marxism, Albert Einstein and Freud. This era was highly influenced by cultural influencers, individuals such as Fitzgerald who became one of the greatest to mould and describe the era he lived in. When reviewing Fitzgerald’s text almost a century later, and at the verge of entering the 2020s, it becomes clear that some fundamental features of culture remain ever-present in the American culture. The multifaceted perspective presented to readers by Fitzgerald raises important questions regarding where the real is overruled and transformed by the ideal. The American 1920s was an era of contradictions which also is reflected in Fitzgerald’s ironic tone and in Gatsby’s smile. Fitzgerald offers an understanding which reaches as far as anyone would want to understand. Linchpins in this essay are the interaction between identity, ideology and social codes and the morality which drives actions and reactions and forms a link between the coexistence of contradictions. Social structures are part of history and the impact history possesses over culture, via nostalgia, is relevant for ideas today. Which clues do history and Fitzgerald’s text provide and store for us and can old ideas enlighten us to bring new solutions, or clarity, to apprehend anything about the future? There is a correspondence, a red thread, between eras such as the 1920s and the year of 2019 in the American society today, which explains why the ideas and ideals Fitzgerald portrayed as important parts of identity and culture a hundred years ago, also matter today.

The Great Gatsby by F. Scott Fitzgerald encapsulates the Roaring Twenties, a period of social and political change. The economy is thriving, and the American Dream, with its promise of monetary wealth, happiness and upward mobility, is seemingly within reach. Females gain suffrage, and a New Woman emerges, the flapper, who can be seen challenging stereotypical gender roles with her short skirts and bobbed hair. Ostensibly enjoying increased freedom, she dances the night away at speakeasies, a cigarette in one hand and a drink in the other, defying Prohibition. This essay aims to evidence that the American Dream as constructed in the novel is a dream available only to the male gender, as the women remain shackled by a patriarchal society. By looking at The Great Gatsby through a feminist lens and with the help of well-established concepts within feminist critical theory and feminist narratology, this essay analyzes how the female characters are portrayed, along with their language, and their actions. The result reveals that in Gatsby’s world women orbit around the men, maneuvering for their attention, affection, and material wealth. Any transgressions of stereotypical gender roles result in punishment: loss of status, withheld affections, dismissal, or death. Consequently, instead of following their own American Dream, women are limited to pursuing the man who most successfully embodies it. Thus, for the females in The Great Gatsby, the American Dream stays an elusive idea as they remain reliant on the men to manifest it.

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