Texte remanié de: Diss.--Universität Innsbruck. / Bibliogr. p. 159-174. Index.

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. Bruce Bickley, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Oct. 1, 2003). Includes bibliographical references.

Jay Gatsby, F. Scott Fitzgerald’s most famous character, has starred in a variety of stage and screen adaptations in the ninety years since he was first introduced in The Great Gatsby (1925). This dissertation explores the Gatsby character as depicted in six important adaptations of the novel, including two Broadway productions, Owen Davis’ 1926 drama and John Collins’ 2010s play, Gatz, and four major motion pictures: Herbert Brenon’s 1926 lost silent film (starring Warner Baxter); Elliott Nugent’s 1949 black and white film (starring Alan Ladd); Jack Clayton’s 1974 color film (starring Robert Redford); and Baz Luhrmann’s 2013 3-D film (starring Leonardo DiCaprio). Each adaptation culls a new portrait of the titular character from Fitzgerald’s text and shows how Jay Gatsby is really James Gatz, an enigmatic man whose ongoing performance renders him an impostor who is chasing an impossible dream and staging an elaborate production. The major adaptations underscore the elasticity of the Gatsby character, and demonstrate that he is nothing if not an actor. This dissertation interprets these six adaptations of the novel as supplemental biographies of Jay Gatsby that contribute to the evolving legacy of the character in American popular culture. Production teams, at least in some sense, become stewards of Gatsby’s reputation, and they are therefore partially responsible for (re)defining the character’s enduring role in contemporary society. Each feature-length film revives public and scholarly interest in Fitzgerald and his fiction, and because their releases coincided with peaks in sales of the novel, their relationship with literary studies cannot be underestimated.

The central issue in the works of Danish philosopher and religious thinker Soren Kierkegaard (1813-1855) takes the form of a question: "What does it mean to become a Christian?" However, Kierkegaard's ideas exerted influence well beyond Christian circles and have been important to many notable philosophical and literary figures, some of whom chose not to concern themselves primarily with this question (Sartre, Camus, Heidegger, Buber), and some of whom did choose to concern themselves primarily with this question (Tillich, Bonhoeffer, Berdyaev, Marcel). Even though Kierkegaard died in relative obscurity, thanks to posthumous translation of his works into German and to those translations then being embraced by thinkers as diverse as the atheist Sartre and the Hasidic rabbi Martin Buber, Kierkegaard's writings evolved into a great shaping force in twentieth century philosophy, theology, and literature. Extending slightly Kierkegaard's influence, the present study draws upon his concept of irony as indirect communication and upon his concept of the three spheres of existence to engage in close readings of four masterpieces of literature: The Great Gatsby, The Sun Also Rises, Mrs. Dalloway, and Ulysses. The four close readings then become a point-of-departure for considering how Kierkegaard's concept of irony---more specifically, its three spheres of existence--might apply to the world of present-day scholarship and pedagogy. The close readings of the four novels thus serve to establish the context for the final chapter, which considers how Kierkegaard's concept of the three spheres of existence might apply to a broader understanding of scholarship and pedagogy. In addition to offering literary analysis (conventional close readings) of the four novels, the present study also serves as a primer to the theology of Kierkegaard in that the close readings of the novels illustrate various aspects of what Kierkegaard believed to be the three spheres of existence. The study also forwards the action of scholarship and pedagogy by inviting the reader to consider how the three spheres of existence might apply to contemporary scholarship and pedagogy.

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Uppsatsen syftar till att analysera påverkan av social klass och status i F. Scott Fitzgeralds roman The Great Gatsby med Max Webers teori om klass och status som utgångspunkt. Detta sker genom analys av karaktärernas relationer och beteende ur ett perspektiv där klass och status är centralt. Resultatet visar hur klass och status påverkar karaktärernas beslut, relationer och liv. Det leder till ett oundvikligt slut för Jay Gatsbys och Daisy Buchanans kärleksaffär samtidigt som konsekvenserna av karaktärernas handlingar påverkas av deras klasstillhörighet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1957. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [369]-379).

Thesis (Ph. D.)--University of Washington, 1987. / Vita. Bibliography: leaves [299]-310.

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