DOCSLIB.ORG

Applied Practice in the Great Gatsby

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Applied Practice in the Great Gatsby Applied Practice in The Great Gatsby PSAT/ /NMSQT*/SAT* By F. Scott Fitzgerald RESOURCE GUIDE *AP and PSAT/NMSQT and SAT are registered trademarks of the College Entrance Examination Board, which was not involved in the production of, and does not endorse, this product. Pre-AP is a trademark owned by the College Entrance Examination Board. ©2017 by Applied Practice, Dallas, TX. All rights reserved. Copyright © 2017 by Applied Practice All rights reserved. No part of the Answer Key and Explanations portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Only the Student Practices portion of this publication may be reproduced in quantities limited to the size of an individual teacher’s classroom. It is not permissible for multiple teachers to share a single Resource Guide. Printed in the United States of America. Questions 21-30 are based on the following critical of these reckless, independent young passage. 50 women. The writer and critic Dorothy Parker wrote a scathing “Hate Song” about flappers, and Although critics generally were not a Harvard psychologist of the time claimed that enthusiastic about the effectiveness of the 1974 flappers presented “a hopeless problem for film version of The Great Gatsby, no one could educators” because they had “the lowest degree dispute that the movie captures the atmosphere 55 of intelligence.” 5 of the Roaring Twenties. In fact, the film won The era of the flapper came to an abrupt end two Academy Awards, one for its music and one in America following the Wall Street Crash and for costume design. The riotous scenes of the ensuing Great Depression. The extravagant Gatsby’s elaborate parties give viewers a lifestyle of the flapper was no longer supportable glimpse into life in the era, and on center stage is 60 among the “Make Do and Mend” campaigns 10 that new woman of the twenties, the “flapper.” intended to discourage overconsumption during The flapper emerged after World War I. those troubled economic times. Although During the war, young men found themselves far flappers disappeared practically overnight, their from the safety of America, facing death in the influence upon American society would be felt trenches. Many of the young men, believing they 65 for decades, and generations, to come. The 15 would never return home, sought out flapper ushered in an era of freedom of choice extreme life experiences. Meanwhile, the young for women. Women were no longer relegated to women back home had patriotically entered the subservient roles, and they had options beyond work force. When the war ended, neither the homemaking. These young women whom many men nor the women were able to settle back 70 considered to be frivolous, or even immoral, 20 down into normal American life as if nothing made a significant contribution to the evolution had changed, and they rebelled against the older of women’s rights. generation, who, in their view, sent a generation overseas to die and then unreasonably insisted that those who returned go back to business as 25 usual. Young women were no longer content to wait until a suitable prospect for marriage approached them, especially since so many men of their generation had perished in the war. They wanted to get out on their own and enjoy life. 30 The term “flapper” was used in Great Britain to describe awkward young girls who were not yet women. In America, the term was adapted to apply to the young women who behaved in a manner many considered shocking. 35 The most obvious feature of flappers was their appearance. In order to look more boyish, flappers tightly wound cloth around their chests to flatten them. The flapper wore lighter, shorter, less restrictive clothing that allowed her to move 40 freely and enjoy the dances of the Jazz Age such as the Charleston and the Shimmy. The flapper’s skirt fell just below the knees, and when she walked, her knees could be glimpsed, a serious Life magazine cover by Frank Xavier departure from the modesty of women who wore Leyendecker, 2 February, 1922 45 long, nearly floor-length skirts. While illustrators and writers in the U.S., such as F. Scott Fitzgerald, popularized the flapper look and lifestyle, others were more ©2017 by Applied Practice, Dallas, TX. All rights reserved. 21. The main purpose of the passage is to 24. As used in line 4, “captures” most nearly means A) describe a significant social phenomenon. A) seizes. B) consider the difficulties of post-war B) influences. readjustment. C) represents. C) examine ways societies evolve over time. D) controls. D) argue that nonconformity should be rewarded, not rejected. 25. The main purpose of the second paragraph (lines 11-29) is to 22. The author implies that the flappers A) emphasize the unfair demands placed primarily considered the expectation that upon young women. they focus on marriage to be B) provide support for the idea that war is A) unrealistic. detrimental to a free society. B) patronizing. C) develop a counterargument to the claim that flappers were frivolous. C) outrageous. D) present a sociological context for the D) distasteful. emergence of the flapper. 23. Which choice provides the best evidence for 26. As used in line 44, “departure” most nearly the answer to the previous question? means A) Lines 25-27 (“Young . them”) A) withdrawal. B) Lines 27-28 (“especially . war”) B) shift. C) Lines 36-38 (“In order . them”) C) retreat. D) Lines 65-67 (“The flapper . women”) D) exit. ©2017 by Applied Practice, Dallas, TX. All rights reserved. 27. The fourth paragraph (lines 46-55) is 29. Which choice provides the best evidence for primarily concerned with establishing a the answer to the previous question? contrast between A) Lines 9-10 (“and . twenties”) A) illustrators and writers. B) Lines 25-27 (“Young . them”) B) artists and academics. C) Lines 46-48 (“While . lifestyle”) C) reckless flappers and unintelligent flappers. D) Lines 65-67 (“The flapper . women”) D) a celebration of flappers and a condemnation of them. 30. The image from the cover of Life magazine focuses on the flapper’s ability to 28. The author’s attitude toward flappers could A) shock her elders. best be characterized as B) disguise herself. A) indifferent. C) transform herself. B) admiring. D) surprise her contemporaries. C) adulatory. D) ambivalent. ©2017 by Applied Practice, Dallas, TX. All rights reserved. ANSWER EXPLANATIONS 21. (A) describe a significant social phenomenon. This passage is describing the 1920s phenomenon of the “flapper.” The ideas in the other choices are touched on briefly, but overall the passage describes the rise of the flapper. 22. (A) unrealistic. The flappers were not “content” to sit around waiting for a suitable marriage prospect, particularly since the numbers of eligible men had been diminished by the war. 23. (B) Lines 29-30 (“especially . war”). These lines explain that a significant number of young men had “perished in the war.” Therefore, it would be unrealistic for a young woman to put her life on hold in hopes that an eligible bachelor was on the horizon. 24. (C) represents. In this context, the word “captures” is being used in the artistic sense. A painter might capture the personality of his or her subject perfectly. That is, the artist faithfully represents that personality. Here, the claim is that the 1974 film faithfully represents the era it depicts. 25. (D) present a sociological context for the emergence of the flapper. This paragraph describes the post-war restlessness felt by both returning soldiers and the young women who “had patriotically entered the work force” during the war. The young women knew marriage prospects were few, and after working hard, they were ready “to get out on their own and enjoy life.” This resulted in their abandoning conventional ways of behaving, thinking, and dressing. 26. (B) shift. In context, the word “departure” refers to a change, or shift, in the way young women dressed. This is a more precise word to describe a change in fashion than “withdrawal,” “retreat,” or “exit.” 27. (D) a celebration of flappers and a condemnation of them. The contrast is between those who celebrated and “popularized” the flapper “look and lifestyle,” and those who condemned the flappers with “a scathing ‘Hate Song’” or a claim that they were “‘a hopeless problem’” because they lacked intelligence. 28. (B) admiring. While the author is generally presenting an objective account, her attitude is apparent in the last paragraph when she credits flappers with “usher[ing] in an era of freedom of choice for women” and making “a significant contribution to the evolution of women’s rights.” The author’s admiration is not extreme, obsequious, or adulatory. 29. (D) Lines 69-70 (“The flapper . women”). In these lines, the author makes clear that she admires the contributions flappers made to society. ©2017 by Applied Practice, Dallas, TX. All rights reserved. 30. (C) transform herself. The butterfly is a common symbol for transformation or metamorphosis. The cover image shows a young woman who has presumably emerged from a cocoon to become something completely different. ©2017 by Applied Practice, Dallas, TX. All rights reserved. “Owl Eyes,” 30 who is the person that had 30. A) NO CHANGE B) who examined the books in Gatsby’s library, is the C) that is the person who only partygoer who attends Gatsby’s funeral. This D) that is the person that man understood that Gatsby was performing for his guests, and he appreciated Gatsby’s efforts 31.
Load more

Recommended publications
  • Girls Gone Wild: the Flapper Dress by Doris M. Benavides 2
    GIRLS GONE WILD: THE FLAPPER DRESS BY DORIS M. BENAVIDES 2ND PLACE FRESHMAN CATEGORY The Flapper Dress was considered a symbol of sexual liberation during the Roaring 20’s. The artifact this essay will center upon is an iris colored flapper dress made out of silk and cotton, decorated with lace bedazzled with pearls and thick fabric. The owner of this dress is unknown. This dress is currently being held in the Museum of Southern History. At a glance, this piece might seem as any other dress from a time personally unknown to contemporary generations. However, the flapper dress became one of the arms the defying women of the 1920’s used to make their mark in American history. In previous generations, women were taught to speak softly, carry lipstick, and wear their hair down. Through the impact of the flapper girls, those days became history. To begin with, the 1920’s were a period in American history that incorporated the fastest economic expansion in United States history, a new source of values, modernism, and a crash that changed the outlook of the United States until this day. The economy of the time incorporated rising stock prices, corporate profits, personal income, and gross domestic product (GDP). During this time, automobiles became largely available, movies, invented in the 1880’s, made debuts, dance music included jazz, and young, modern women joined the provocative culture of the time. Fashion played a crucial role during this time, and women were no longer content having to wear layers upon layers of clothing, nor long haircuts that became burdensome.
    [Show full text]
  • The Great Gatsby (2013)’ Movie
    FLAPPERS LIFESTYLE AS REFLECTED IN ‘THE GREAT GATSBY (2013)’ MOVIE A THESIS In Partial Fulfillment of the Requirements for S-1 Degree Majoring American Study in English Department Faculty of Humanities Diponegoro University Submitted by: SafiraAnindyaputeri 13020111130074 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2016 PRONOUNCEMENT I states truthfully that this project is compiled by me without taking the results from other research in any university, in S-1, S-2, and S-3 degree and diploma. In addition, I ascertain that I do not take the material from other publications or someone’s work except for the references mentioned in the bibliography. Semarang, August 2015 SafiraAnindyaputeri ii MOTTO AND DEDICATION Nothing in the world can trouble you as much as your own thoughts. - Sri Sri Ravi Shankar Keep saying ‘even so’. - Marida Cruz This thesis is dedicated to myself, my family, and BayuSatryaYudha. Also, for Leonardo DiCaprio. Congratulations for winning your very first Oscar, even though it has nothing to do with the film I used for this thesis. iii APPROVAL iv VALIDATION Approved by Strata 1 Thesis Examination Committee Faculty of Humanities Diponegoro University On August 2016 v ACKNOWLEDGEMENT Praise be to God the Almighty who has given mercy, blessing, strength, and guidance so this thesis entitled “Flappers Lifestyle as Reflected in The Great Gatsby (2013) Movie” came to a completion. On this occassion, I would like to thank all those people who have helped me in completing this thesis. The deepest gratitude and appreciation are extended to Ms. SukarniSuryaningsih, S.S., M.Hum, who has given her continuous support, advice, and suggestions in the completion of this thesis.
    [Show full text]
  • A National Phenomenon Comes to New Orleans
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Summer 8-9-2017 Flapperism: A National Phenomenon Comes to New Orleans Tracy Carrero University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Cultural History Commons, United States History Commons, and the Women's History Commons Recommended Citation Carrero, Tracy, "Flapperism: A National Phenomenon Comes to New Orleans" (2017). University of New Orleans Theses and Dissertations. 2375. https://scholarworks.uno.edu/td/2375 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Flapperism: A National Phenomenon Comes to New Orleans A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History by Tracy Carrero BA, University of California Santa Cruz, 1998 August 2017 Acknowledgments My deepest appreciation goes to my committee members Dr.
    [Show full text]
  • The Concept of the Flapper in the Early Writings of F. Scott Fitzgerald
    South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange Electronic Theses and Dissertations 1967 The onceptC of the Flapper in the Early Writings of F. Scott itF zgerald Janet Foster Carroll Follow this and additional works at: https://openprairie.sdstate.edu/etd Recommended Citation Carroll, Janet Foster, "The oncC ept of the Flapper in the Early Writings of F. Scott itzF gerald" (1967). Electronic Theses and Dissertations. 3283. https://openprairie.sdstate.edu/etd/3283 This Thesis - Open Access is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. THE CONCEPT OF THEFLAPP:m IN THE EARLY WRITINJS OFF. SCOTT FIT'lGmwJ> BY JANETFOSTm CARROLL A thesis subnitted in partial .fulfillment of the requirements tor the degree Master of Arts, Major in English, South Dakota State University 1967 SOUTH DAKOTA STATS UNJYeR51TY LIBRARY THE CONCEPT OF THE FLAPPER IN THE FARLY WRITIIDS OFF. SCOTT FITZGERALD This thesis is approved as a creditable and independent investigation by a candidate for the degree, M�ster of Arts, and is acceptable as meeting the thesis requirements for this degree, but without implying that the conclusions reached by the candidate are necessarily the conclusions of the major department. Thesis Adviser / Date The writer wishes to express her sincere appreciation to Mrs. Ruth Alexander for her guidance and encouragement in the preparation of this essay.
    [Show full text]
  • U.S. History Administered May 2019
    U.S. History Administered May 2019 Copyright © 2019, Texas Education Agency. All rights reserved. Reproduction of all or portions of this work is prohibited without express written permission from the Texas Education Agency. STAAR U.S. History 09/19/2019 USHSP19R_rev00 STAAR U.S. History 09/19/2019 USHSP19R_rev00 U.S. HISTORY U.S. History Page 3 STAAR U.S. History 09/19/2019 USHSP19R_rev00 DIRECTIONS Read each question carefully. Determine the best answer to the question from the four answer choices provided. Then fill in the answer on your answer document. 1 Someone asked me if I wanted to make a New Year’s wish, and I said yes—and it was that I’d like to see every young person in the world join the “Just Say No” . club. Well, just the fact that Congress has proclaimed “Just Say No Week” and in light of all the activities taking place, it seems that my wish is well on its way to coming true. I’m so proud of all the young people, the parents, the citizens in cities and towns across the Nation, the Government, and everyone else who’s helping to create what I believe is the final solution to this problem. —First Lady Nancy Reagan, May 20, 1986 Which problem is Nancy Reagan hoping to solve with this campaign? A Drug and alcohol abuse among children B The effects of video-game violence on children C Diets high in sugar and salt among children D The effects of explicit lyrics in music on children U.S.
    [Show full text]
  • Feminism and Flapperdom Sexual Liberation, Ownership of Body and Sexuality, & Constructions of Feminity in the Roaring 20’S
    Feminism and Flapperdom: Sexual Liberation, Ownership of Body and Sexuality, & Constructions of Femininity in the Roaring 20’s Item Type Article/Review Authors Brady, Megan Citation Brady, M. (2019). Feminism and Flapperdom: Sexual Liberation, Ownership of Body and Sexuality, & Constructions of Femininity in the Roaring 20’s. SUNY Oneonta Academic Research (SOAR): A Journal of Undergraduate Social Science, 3. Download date 25/09/2021 17:54:45 Link to Item http://hdl.handle.net/20.500.12648/1473 Feminism and Flapperdom Sexual Liberation, Ownership of Body and Sexuality, & Constructions of Feminity in the Roaring 20’s Megan Brady, SUNY Oneonta ©2019, SOAR, SUNY Oneonta Academic Research FEMINISM AND FLAPPERDOM Feminism and Flapperdom: Sexual Liberation, Ownership of Body and Sexuality, & Constructions of Feminity in the Roaring 20’s (Winner of CSSR Student Paper Competition, Long Paper Category) Megan Brady, SUNY Oneonta The 1920s were known as a decade of exponential social, political, and cultural transformation and growth. This was extremely evident in the fight for and eventual achievement of women’s suffrage and the creation of the “flapper” image. These new instances of women demanding equal rights and opportunities led to shifts in cultural norms and expectations, including society’s perceptions of femininity and sexuality. The flapper movement granted women of all status that may have been denied representation and rights elsewhere the freedom in expressing their sexuality, femininity, and presentation of their bodies how they pleased despite the pressures and expectations being exerted upon them by a patriarchal society. While the flapper was a result of the expanding consumer culture in America, this does not go to cheapen what the flapper stood for in the eyes of so many women: sexual liberation, ownership of one’s body and sex, and the right to express the feminine self in ways unimaginable.
    [Show full text]
  • American Electra Feminism’S Ritual Matricide by Susan Faludi
    ESS A Y American electrA Feminism’s ritual matricide By Susan Faludi o one who has been engaged in feminist last presidential election that young women were politicsN and thought for any length of time can recoiling from Hillary Clinton because she “re-­ be oblivious to an abiding aspect of the modern minds me of my mother”? Why does so much of women’s movement “new” feminist activ-­ in America—that so ism and scholarship often, and despite its spurn the work and many victories, it ideas of the genera-­ seems to falter along tion that came before? a “mother-­daughter” As ungracious as these divide. A generation-­ attitudes may seem, al breakdown under-­ they are grounded in lies so many of the a sad reality: while pathologies that have American feminism long disturbed Amer-­ has long, and produc-­ ican feminism—its tively, concentrated fleeting mobilizations on getting men to give followed by long hi-­ women some of the bernations; its bitter power they used to divisions over sex; give only to their sons, and its reflexive re-­ it hasn’t figured out nunciation of its prior incarnations, its progeni-­ how to pass power down from woman to woman, tors, even its very name. The contemporary to bequeath authority to its progeny. Its inability women’s movement seems fated to fight a war on to conceive of a succession has crippled women’s two fronts: alongside the battle of the sexes rages progress not just within the women’s movement the battle of the ages. but in every venue of American public life.
    [Show full text]
  • Featured History
    APRIL 2018 Page 1, 4 Page 2 Page 3 Page 10 Page 11 Bustles, Corsets, We Have Come a Bring the Tots to One Railroading BIG Grant oh My! Long Way the Farm! Family FEATURED HISTORY SUFFER FOR BEAUTY Women’s History Revealed through Undergarments BY PATRICIA COSGROVE As we all know, fashions change. My grandmother Lennah, for example, was born in 1892. When she graduated high school she wore a white gown and undergarments that moved her breasts into what I call a ‘mono-bosom’ to create a ‘powder pigeon puff’ above the waist. The corset tilted her forward, so walking with a stylish cane became the rage. By 1925 as a married woman, naturally she accommodated the flapper era by squishing her shapely body into a long corset designed to give her a boyish physique—however, she could dance, smoke, drink and vote! After serving as a nurse and by the end of World War II, Lennah was back in the home baking in high heels, wearing a newfangled brassier designed to lift and point her breasts, a cincher to reach the desired waist size, and a girdle to hold up nylons. This all in one woman’s lifetime, and accomplished with a large portion of good-naturedness and shape changing undergarments! Our newest exhibit Suffer for Beauty: Women’s History Revealed through Undergarments explores all of those eras and more. [Much of this article is taken from the wonderful labels written by Michelle Marshman, a great guest curator.] SUFFER FOR BEAUTY: Women’s History Revealed through Undergarments On display through June 17 You don’t want to miss out on this fun, beautiful and important exhibit! Find out how women have shaped their bodies to accommodate the changing styles of beauty.
    [Show full text]
  • Flapper Fashion in the Context of Cultural Changes of America in the 1920S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 Flapper Fashion In the Context of Cultural Changes of America in the 1920s Soo Hyun Park Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/263 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FLAPPER FASHION IN THE CONTEXT OF CULTURAL CHANGES OF AMERICA IN THE 1920S BY SOOHYUN PARK A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University New York 2014 This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the dissertation requirement for the degree of Master of Arts. Approved By Thesis Advisor ___________________________________________ Date ________________ Professor Eugenia Paulicelli Executive Officer ___________________________________________ Date ________________ Professor Matthew K. Gold THE CITY UNIVERSITY OF NEW YORK ii Abstract FLAPPER FASHION IN THE CONTEXT OF CULTURAL CHANGES OF AMERICA IN THE 1920S by Soohyun Park Thesis Advisor : Professor Eugenia Paulicelli This study aimed to analyze the key characteristics of flapper fashion, which shaped the American fashion scene in the 1920s, and to review how this trend reflected the society at that time, which was changing fast in terms of the society, economy, and culture.
    [Show full text]
  • Historical Context: the Great Gatsby EXPLORING Novels, 2003
    Historical Context: The Great Gatsby EXPLORING Novels, 2003 The Jazz Age and the Roaring Twenties The Jazz Age began soon after World War I and ended with the 1929 stock market crash. Victorious, America experienced an economic boom and expansion. Politically, the country made major advances in the area of women's independence. During the war, women had enjoyed economic independence by taking over jobs for the men who fought overseas. After the war, they pursued financial independence and a freer lifestyle. This was the time of the "flappers," young women who dressed up in jewelry and feather boas, wore bobbed hairdos, and danced the Charleston. Zelda Fitzgerald and her cronies, including Sara Murphy, exemplified the ultimate flapper look. In The Great Gatsby, Jordan Baker is an athletic, independent woman, who maintains a hardened, amoral view of life. Her character represents the new breed of woman in America with a sense of power during this time. As a reaction against the fads and liberalism that emerged in the big cities after the war, the U.S. Government and conservative elements in the country advocated and imposed legislation restricting the manufacture and distribution of liquor. Its organizers, the Women's Christian Temperance Movement, National Prohibition Party, and others, viewed alcohol as a dangerous drug that disrupted lives and families. They felt it the duty of the government to relieve the temptation of alcohol by banning it altogether. In January, 1919, the U.S. Congress ratified the 18th Amendment to the Constitution that outlawed the "manufacture, sale, or transportation of intoxicating liquors" on a national level.
    [Show full text]
  • The Roaring 20S Mini-DBQ Read Each Document Excerpt and Answer the Accompanying Questions
    The Roaring 20s Mini-DBQ Read each document excerpt and answer the accompanying questions. Document 1: Roaring 20’s - Digital History The 1920s was a decade of exciting social changes and profound cultural conflicts. For many Americans, the growth of cities, the rise of a consumer culture, the upsurge of mass entertainment, and the so-called "revolution in morals and manners" represented freedom from the restrictions of the country's Victorian past. Gender roles, hairstyles, and dress all changed profoundly during the 1920s. But for many others, the United States seemed to be changing in undesirable ways. The result was a "cultural civil war," in which a society clashed bitterly over such issues as foreign immigration, evolution, the Ku Klux Klan, prohibition, women’s roles, and race. The 1920s was the first decade to have a nickname: “Roaring 20s". It was a decade of prosperity and indulgence, and of jazz bands, bootleggers, raccoon coats, bathtub gin, flappers, flagpole sitters, and marathon dancers. It was, in the popular view, the Roaring 20s, when the younger generation rebelled against traditional taboos while their elders engaged in a lot of speculation. It was known as the “Roaring 20s” for a variety of reasons - a reference to jazz, the economic growth, and luxurious lifestyle many indulged in. 1. What are some of the ways American culture changed in the 1920s? List 5. 2. What was the nickname for the decade of the 1920s? Why did it have that nickname? Document 2: Howard Johnson, an African American newspaper editor, interviewed in The Century, 1998 …The time was ripe for a renaissance back then (1920’s).
    [Show full text]
  • Flappers As Portrayed in Dorothy Parker's Short
    The Grove. Working Papers on English Studies 22 (2015): 91-105. DOI: 10.17561/grove.v0i22.2699 FEMALE FIGURES OF THE JAZZ AGE IN DOROTHY PARKER’S SHORT STORIES Isabel López Cirugeda University of Castilla-La Mancha (Spain) Abstract Most criticism on Dorothy Parker (1893–1967) highlights her literary persona only to the detriment of the study of a profuse work comprising six decades of narrative, poetry and drama. Probably her best-known contribution to literature was her condition of the voice of the Jazz Age generation, shifting from acquiescence to irony. A corpus of Parker’s short stories written in the 1920s and early 1930s will be analyzed from feminist perspectives, such as those by Pettit, Melzer or Showalter, in terms of ‘appearance’, ‘social life’ and ‘bonds with men’ to determine whether her heroines respond to the stereotype of the flapper in the Roaring Twenties. Results show a satirized viewpoint conveying dissatisfaction regarding body, idleness and romance predicting many of the conflicts of women in the second half of the XXth century. Keywords: Dorothy Parker, short stories, flappers, Jazz Age, feminist criticism, body, satire. Resumen La mayor parte de los estudios sobre Dorothy Parker (1893–1967) se centran en su condición de personalidad del panorama escénico en detrimento de su profusa obra, con más de seis decenios de narrativa, poesía y teatro. Probablemente su contribución más reconocida sea haber dado voz a la generación de la Era del Jazz, con una visión que oscila entre la complicidad y la ironía. Las heroínas del corpus de relatos escritos por Parker en los años veinte y treinta serán analizadas bajo perspectivas feministas (Pettit, Melzer, Showalter) en términos de ‘apariencia’, ‘vida social’ y ‘relación con los hombres’ para determinar si se acomodan al estereotipo de la flapper.
    [Show full text]