Henry Dan Piper has exploded the legend that all of Fitzgerald' s books where out of print when he died. There may be similar romantic exaggeration which does not bear examination in the popular view that Fitzgerald's reputation as an artist was eclipsed in his later years and magically revived after his death by the editing and publication by Edmund Wilson in 1941 of the unfinished novel Last Tycoon, and of The Crack-Up. Investigation by Matthew J. Bruccoli has shown the essential oversimplification inherent in the widely-held belief that Fitzgerald's last complete novel to be published, Tender is the Night was dismissed or ignored by reviewers demanding novels of social conscience. Fitzgerald attracted legends and since his death has become something of a folk-hero the type of the golden boy who achieved early and instantaneous fame, lives riotously and is then engulfed by the backwash of his own youthful folly somehow leaving an unpublished masterpiece to confound his critics at his early death. Preface, p. 1.

Made available in DSpace on 2014-06-11T19:25:22Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-25Bitstream added on 2014-06-13T18:47:56Z : No. of bitstreams: 1 fonseca_jcl_me_arafcl.pdf: 753228 bytes, checksum: 7536aeb4b77e7a4dcc16b58eb1483f62 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O romance The Great Gatsby pode ser visto como uma crônica da década de 1920, por contar com diversas marcas desse momento da história norte-americana. Francis Scott Fitzgerald, seu autor, é considerado o porta-voz dessa geração. Uma geração que passava por transformações drásticas na economia e na sociedade, causadas por uma guerra recém-terminada. Para aqueles afetados diretamente pela crise, esse período foi de extrema privação. Para outros, como Jay Gatsby, o protagonista do romance, esse momento histórico possibilitou um acúmulo vertiginoso de riquezas. A composição das personagens e dos cenários que as separam na história é diretamente influenciada por esses efeitos do pós-guerra. Nessa atmosfera, o narrador Nick Carraway, a única personagem que transita por todos os espaços, desenvolve sua história. A proposta deste estudo foi analisar os espaços que o leitor apreende pela narrativa de Nick, divididos em dois grandes grupos: público e privado. Uma vez que a espacialização é fundamental para apreciação da obra, por também refletir as personagens, foram buscadas imagens que apresentassem a estratificação da sociedade e que fossem observáveis na superfície da narrativa ou de maneira mais profunda e simbólica. As análises ressaltaram questões sobre espaço/ambientação, respaldadas em leituras de Bachelard e Osman Lins, bem como guiou-se nos conceitos de carnavalização propostos por Bakhtin para o estudo comparado das personagens Gatsby e Trimalquião / The novel The Great Gatsby can be seen as a chronicle of the 1920s, by narrating on various aspects of this moment in American history. And Francis Scott Fitzgerald, its author, is considered the spokesperson of this generation. A generation that was undergoing drastic transformations in the economy and society, caused by a war recently ended. For those affected directly by the crisis this time was of extreme deprivation. For others, like the protagonist of the novel, this historic moment caused a dizzying accumulation of wealth. The composition of characters and the scenarios that separate them respond to these post war effects. In such atmosphere the narrator, Nick Carraway, the only character who transits for all the spaces, develops his story. This study proposal was the analysis of the spaces the reader grasps by the narrative of Nick, spaces divided into two large groups: public and private. Whereas spatialization is fundamental for appraising the piece, once it reflects the characters, this research has sought for images which present the stratification of society, observable on the surface of the narrative or in a deeper symbolic way. The analyses emphasized the aspects about space/ambiance, assured in readings of Bachelard and Osman Lins and it also was guided by carnavalization concepts proposed by Bakhtin for the comparative studies of Gatsby and Trimalchio characters

The rapid settlement of North America in the seventeenth century was motivated by the dream of success— a dream which the numerous possibilities of that virgin land inspired. The new land of America suggested the possible achievement of a heaven upon earth: the realization of the Utopian myth of timeless perfection. Throughout the subsequent growth of the Republic, this American dream, because of its tremendous strength and of its powerful influence as myth, completely captivated the imagination of the Americans. Consequently, a unique pattern of thought evolved in America; one that has given form and significance to the political, cultural, social, and religious life of the nation; one, in fact, that has moulded the entire history of the United States of America. In this thesis, The American Nightmare, I have attempted to illustrate the effect of the American dream on American literature, particularly on the work of F. Scott Fitzgerald and of James Baldwin. To do this successfully, however, I found it necessary to define the American dream: to trace its origins and subsequent development. Moreover, I have suggested that the American dream, once a vital force because it was relevant to the facts of life in America (or apparently so), has, in the twentieth century, become a nightmare, dedicated to illusion and hypocrisy. Indeed, the literature of the chosen writers reflects not only their preoccupation with the American dream and its influence, but also their desire to reveal and to analyse the apparent failure of this dream and the disillusionment, the despiritualisation, and the inhumanity which the quest for success has engendered in America. The society depicted in the novels I have selected for discussion is a bewildered one--an "incoherent" one. The authors themselves, despite their insight into the problems of American life, are indeed victims of the Medusa-like American dream. The thesis is divided into four sections. Section One, "The American Dream," discussing the settlement of America in the seventeenth century, examines the origins of the dream. Moreover, it traces the development and increasing secularization of the dream in the eighteenth century, witnesses the westward expansion of American settlement and its effect upon the nineteenth century vision of America's future, and, finally, reveals the failure of the dream and the subsequent fear, disillusion and bewilderment in twentieth century America. In short, this section shows how the American dream, once a vital force in American life, has now become a "nightmare"—a mirage which frequently lures many to self-destruction. Sections Two and Three treat specific works of Fitzgerald (This Side of Paradise and The Great Gatsby) and of Baldwin (Giovanni's Room and Another Country) respectively in the light of the American dream. The thesis concludes with a brief survey of the lives of the two writers, and an evaluation of the effect of the American dream upon their careers. / Arts, Faculty of / English, Department of / Graduate

Among slaughterhouses and suffragists—writers of the American Modernist movement were called to the creative task of reimagining boundaries between human and nonhuman while also extending this conversation onto the site of “New Women.” The threat to “civilized man” by “primal nonhuman animal” becomes tied up with the threat of an independent “wild” woman to a system which traditionally depends upon her domestication. Female animality in modernist texts thus emerges as a symbol of both masculine anxiety and feminine liberation. When women begin to challenge traditional institutions which would see her survive exclusively by contract to a male “keeper,” men become increasingly desperate to establish an apex social, economic, and political position. As such, female animality in these texts is designed to reinforce or resist standard constructs of human/nonhuman and masculine/feminine, yet both assert the feminine-animal-character as a hybrid commodity bred for patriarchal consumption. Despite the heteronormative compulsion to sketch woman as an elusive animal to be hunted (courtship), caged (marriage), and kept (children)—there is also an advantage in recognizing one’s place in such a “jungle,” as scholars have often described progressive-era America. By examining the intersection of animality and feminist theory within modernist literature, it becomes clear that the category of nonhuman animal is one historically manipulated through patriarchal systems to delegate women’s bodies as a site of oppression and subordination. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

No description available.

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 purpose of this study was to examine how adult students in a reading class offered in a college-affiliated ESL program responded to The Great Gatsby (Fitzgerald, 1925; GG, afterwards) in small group book discussion sessions over eight weeks, and how they perceived their reading and discussing experiences. Analysis of students' literary responses demonstrated students' strategies in constructing textual meaning and transformation of their meaning-making strategies across time. Students in this study made sense of the text by making connections between the textual world and the text, themselves, and the world around them. Students also brought into discussion their reading experiences and a critical approach to the text. The percentage of comments devoted to each response category illustrated the changes in the focus of discussion and meaning making strategies across time. Taking up the novel, initially students spent more time discussing the historical context of the text and formulating connections with themselves and the world. Students were self-conscious about their reading difficulties. Further along in their reading, as they derived more information from the text, their discussion became more text-centered. Inferential comments and emotional reactions became more frequent elements in discussion, and talk about the reading experience itself and contextual information about the text diminished. Perceptions expressed about their reading experience of the literary text in their second language were predominantly about the enjoyment of reading and challenges and rewards in terms of: 1) language challenges, 2) culture challenges, and 3) literary challenges. Analysis of students' perceptions of their experiences in literary discussion as they read GG revealed their enjoyment of discussions and appreciation of how literary discussion had enriched their interpretation of the novel by providing opportunities for: 1) checking up on the textual information, 2) exchanging opinions, and 3) building a sense of learning community. / text

Thesis (Ph. D.)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 210-230).

Cette recherche a pour but d’identifier une personnalité féminine révisionniste dans le modernisme littéraire américain. Cette personnalité révisionniste a pour nom «American Eve» et défie le «American Adam» qui est un personnage mythique patriarcal de R.W.B. Lewis provenant du dix-neuvième siècle. Cette conceptualisation est accomplie à l’aide d’une analyse socio-critique et comparative des trois protagonistes féminins dans les romans modernes The Awakening (1899) de Kate Chopin, The Sun Also Rises (1926) d’Ernest Hemingway, et The Great Gatsby (1925) de F. Scott Fitzgerald. Ma construction de cette personnalité féminine est divisée en trois chapitres, chacun étant dédié à un protagoniste en particulier. En comparant ces personnages littéraires sur un plan socio-critique et féministe, je permets à mon étude d’établir en quoi les personnages en question contribuent ou ne contribuent pas à la personnalité de «American Eve». Cette approche comparative est un excellent moyen d’évaluer l’évolution du potentiel révisionniste de la femme au vingtième siècle et les différentes façons par lesquelles elle emploie ce pouvoir.

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.