This study of thirty representative short stories from 1912-1941 demonstrates the stages of growth in Fitzgerald's writing which emerged from his own mental development, focusing upon his changing attitudes toward women as he reflects these attitudes in his depictions of the dominant female figures in the stories. The above chronology is then divided into four major blocks; in each block the dominant female illustrates Fitzgerald's concept of women at that particular stage of his life, The stories prove to be integral to the whole of Fitzgerald's writing and deserve to be judged independently of the novels. Furthermore, through an examination of Fitzgerald's short stories, the growth periods and the natural course of his changing attitudes become all the more clear and incisive.

The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.

This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.

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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

This thesis examines Zelda Sayre Fitzgerald’s writing published between 1920 and 1932. To date, biographers and scholars have largely failed to carefully examine and understand Zelda’s publications. During this period Zelda critiques the materialism and generational lack of respect she finds in the North in her articles, while using her imagination to discuss the possibilities of the South in her short stories. All of her works during these years culminate in her novel, Save Me the Waltz, in which much of her life and return to the South is mirrored by her heroine, Alabama Knight. This thesis examines Zelda’s publications in this 1920 to 1932 period in order to reveal her perception of the society she had become a part of when she married F. Scott Fitzgerald and to understand the transition in her desire to at first fit in to the Northern society that expected her to be the flapper and celebrity wife, and then later to find success and self-expression in a return to the South.

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.

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