This video offers some quick questions/points that might be considered when writing about Fitzgerald's short story. / https://dc.etsu.edu/lit-outlines-complete-oer/1007/thumbnail.jpg

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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

Thesis advisor: Christopher P. Wilson / Growing up F. Scott Fitzgerald longed to be a part of the leisure class with whom he socialized and was educated. However, born into a middle class family and destined to be a writer, he never achieved that goal. This preoccupation with the leisure class continued into adulthood and was reflected in his works of fiction. In his writing he repeatedly depicts the outsider, a middle class character who by the means of monetary wealth hopes to rise in society. Through his relationship with the object, this outsider attempts to become a part of the elite and is rejected. Mannerisms and social codes that can only be learned by high birth restrict this individual from reaching social heights. The new wealth of the 1920's creates a paradox for the outsider. The object that the leisure class possesses is easily attainable, however, the upward movement it promises is still out of reach. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

Although F. Scott Fitzgerald's The Great Gatsby has received extensive critical attention since the middle of the century, there remains an unaddressed and unanswered question that demands further exploration: what makes Gatsby "great?" It seems that the source of Gatsby's greatness, for narrator Nick Carraway, is that Gatsby has a quality that sets him apart from others: it is not a "flabby impressionability," but a "heightened sensitivity to the promises of life" and "an extraordinary gift for hope" that Nick has never seen before, nor does he expect to see again (6). I contend that what Nick sees as Gatsby's belief and hope in the possibilities of life are embodied in what Kierkegaard discusses in his works Either/Or and Fear and Trembling as choosing to live an ethical existence free from the pain of the material world. Gatsby makes this choice (of living ethically) when the young James Gatz chooses to become Jay Gatsby and free himself from the pain of losing Daisy. Through this choice, according to Kierkegaard, the ethical individual is inducted into the knighthood as a knight of infinity. If the knight makes one more movement, he becomes a knight of faith who believes, "Nevertheless I have faith that I will get her--that is, by virtue of the absurd, by virtue of the fact that for God all things are possible" (Fear and Trembling 46). Gatsby is a "son of God" that "sprang from his Platonic conception of himself"; he is a Kierkegaardian knight who has chosen an ethical existence; he is a knight who has the ability to look impossibility in the eye and still have faith to the point of absurdity, even if a reunion with his love (Daisy) is not possible. This is Gatsby's "extraordinary gift for hope," which Kierkegaard attributes to "the only great one," the knight of faith. Thus, Nick's narrative is not only a canonization of his "great" knight, but an imaginative recollection that traces the movements of his knight, Gatsby, down the same path Kierkegaard imaginatively follows and observes his great knight of faith in Fear and Trembling.

Where is the importance in uncovering a link between the economic position and level of familial dysfunction in the short stories of Ernest Hemingway and F. Scott Fitzgerald? Furthermore, in composing these findings, what does this information have to offer in terms of bringing different insights to the works of these two writers who have already received so much attention from critics? In reading and researching the short stories of Hemingway and Fitzgerald, I find that published criticism has not sufficiently examined the connection between economic position and familial dysfunction. Trying to understand the psychology behind the characters’ lives and their consequential actions, however, requires us to look at this connection. One can articulate the effects and results that economic circumstances have in relation to the characters’ familial duties and responsibilities. / Thesis / Master

This study was written in the belief that FitzGerald did not so much translate a poem as invent a persona based on the Persian astronomer and mathematician (but not poet) Omar Khayyám. This 'invention' opened two different lines of interpretation and scholarship, each forming its own idea of a 'real' Omar based on FitzGerald's invention. One line sees Omar as a hedonist and nihilist; the other as a mystic or Sufi. My argument first is that the historical Omar was neither the former nor the latter; second, FitzGerald's Rubáiyát is a 'Victorian' product even if the raw material of the poem belongs to the eleventh-century Persia. ¶ The Introduction tries to find a place for the Rubáiyát in the English nineteenth-century era. ¶ Chapter One sets FitzGerald's Rubáiyát in perspective. First, it surveys the general background and context to the lives and careers of Edward FitzGerald and Omar Khayyám in order to show how FitzGerald's life was affected by some of the main concerns of the period; and that Omar was neither a hedonist nor a mystic; Secondly, it surveys four major critical studies which have generated different approaches to and emphases in the study and the translation of the rubáiyát attributed to Omar Khayyám. ¶ Chapter Two reviews some examples of Persian language and literature as they were perceived by British readers and authors and shows the reception of Persian poetry in general up to and including the Victorian period. Then it traces FitzGerald's progress with Persian literature, showing how the other Persian poets he read influenced his understanding or 'creation' of the Rubáiyát, and how he discarded the great Persian poets but retained Omar Khayyám as 'his property.' ¶ Chapter Three traces FitzGerald's career as a translator and attempts to give general characteristics of Victorian poetry to show how FitzGerald's version can be seen a Victorian product. Study of the poetry of the period shows the heterogeneity of Victorian poetry and FitzGerald's poem is another example of this multiplicity. The Rubáiyát should be read as a revolt against general Victorian values: optimism, earnestness, Puritanism, and science development. ¶ Chapter Four accounts for the initial neglect of the poem and then for the popular reception of the Rubáiyát by the Pre-Raphaelites and shows aspects in particular appealed to his contemporaries (like R. Browning) which, in turn, is a way of measuring the success of FitzGerald's 'Victorian' invention.