"That Slender Riotous Island": a Study of Socioeconomic and Historical

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"That Slender Riotous Island" : a study of socioeconomic and historical contexts in The Great Gatsby Item Type Thesis Authors Shand, Abigail Lenington Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 25/09/2021 18:31:28 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/20.500.

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Biographical Background
アメリカ文学 A American Fiction in the 20th Century F. Scott Fitzgerald, The Great Gatsby, and America in the 1920s Lecture on Biographical Background: Fitzgerald and the Writing of The Great Gatsby How to Cite this Lecture: Armstrong, Christopher J. “Fitzgerald and the Writing of the Great Gatsby,” Chukyo University, American Literature A, 3 June & 12 July 2019. American Fiction in the 20th Century Outline: Part 1: Family and College Life, First Love and Zelda Sayre Part 2: Great Neck, Long Island, France, Italy and The Writing of The Great Gatsby American Fiction in the 20th Century Family and College Life •Born Francis Scott Key Fitzgerald, St. Paul, Minnesota, 1896 •Grew up in a middle-class Roman Catholic family •Mother: Mollie McQuinlan, daughter of Irish immigrant and successful business man •Father, Edward, president of furniture manufacturing company •Two daughters born, both died in 1896, the year of Scott’s birth •Edward’s business failed in 1898, family moved to Buffalo, later Syracuse, back to Buffalo •Mollie’s money helped support the family •Third daughter born, 1900, died •Fourth daughter born, Annabel, 1901 Edward Fitzgerald and •Return to St. Paul, 1908: Father “a failure the rest of his son Scott his days” (FSF) American Fiction in the 20th Century Family and College Life •Residence in the Summit Avenue district of St Paul, St. Paul. MN, 1900-1910 1908-11 •Scott’s playmates: wealthy, afﬂuent •Scott aware of social distinctions •Publishes ﬁction, poetry in the school paper •1911-13: Scott attends the private Catholic Newman School in New Jersey Residence of railway tycoon James J.
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F Scott Fitzgerald's New York
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1993 His Lost City: F Scott Fitzgerald's New York Kris Robert Murphy College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Murphy, Kris Robert, "His Lost City: F Scott Fitzgerald's New York" (1993). Dissertations, Theses, and Masters Projects. Paper 1539625818. https://dx.doi.org/doi:10.21220/s2-zdpj-yf53 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. HIS LOST CITY: F. SCOTT FITZGERALD’S NEW YORK A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Kris R. Murphy 1993 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, July 1993 Scott Donaldson Christopher MacGowan Robert Maccubbin TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.............................................................................................iv ABSTRACT.............................................................................. ...................................... v CHAPTER I. ‘The far away East. .the vast, breathless bustle of New York”. 3 CHAPTER II. “Trips to New York” (1907-1918)........................................................ 11 CHAPTER III. ‘The land of ambition and success” (1919-1920) ................................ 25 CHAPTER IV. ‘The great city of the conquering people” (1920-1921)...................... 53 CHAPTER V.
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The Sigma Tau Delta Rectangle
The Sigma Tau Delta Rectangle Journal of Creative Writing Sigma Tau Delta International English Honor Society Volume 90, 2015 Editor of Publications: Karlyn Crowley Associate Editors: Kacie Grossmeier Anna Miller Production Editor: Alex Velicer St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Mari Evans Kyoko Mori Kim Addonizio Anne Fadiman Scott Morris Edward Albee Philip José Farmer Azar Nafisi Julia Alvarez Robert Flynn Howard Nemerov Rudolfo A. Anaya Shelby Foote Naomi Shihab Nye Alison Bechdel H.E. Francis Sharon Olds Saul Bellow Alexandra Fuller Walter J. Ong, S.J. John Berendt Neil Gaiman Suzan–Lori Parks Robert Bly Charles Ghigna Laurence Perrine Vance Bourjaily Nikki Giovanni Michael Perry Cleanth Brooks Donald Hall Gin Phillips Gwendolyn Brooks Robert Hass David Rakoff Lorene Cary Frank Herbert Henry Regnery Judith Ortiz Cofer Peter Hessler Richard Rodriguez Henri Cole Andrew Hudgins Kay Ryan Billy Collins William Bradford Huie Mark Salzman Pat Conroy E. Nelson James Sir Stephen Spender Bernard Cooper X.J. Kennedy William Stafford Judith Crist Jamaica Kincaid Lucien Stryk Jim Daniels Ted Kooser Amy Tan James Dickey Ursula K. Le Guin Justin Torres Mark Doty Li-Young Lee Sarah Vowell Ellen Douglas Valerie Martin Eudora Welty Richard Eberhart David McCullough Jessamyn West Timothy Egan Erin McGraw Jacqueline Woodson Dave Eggers Daniel Mendelsohn Katja Esson Marion Montgomery Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Sue Yost Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Kevin Stemmler Copyright © 2015 by Sigma Tau Delta All rights reserved under International and Pan–American Copyright Conventions.
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The Great Gatsby Historical Context and Introduction
The Great Gatsby Historical Context and Introduction "It was an age of miracles," Fitzgerald wrote of the Jazz Age. “It was an age of art, it was an age of excess, and it was an age of satire. F. Scott Fitzgerald 1896-1940 A Short Biography Francis Scott Key Fitzgerald was born in St. Paul, Minnesota on September 24, 1896. His parents, although poor, had some social status. Fitzgerald was named after his second cousin, Francis Scott Key, the author of “The Star-Spangled Banner.” While his family was not prosperous, Fitzgerald’s mother nurtured social ambitions in her only son. An elderly aunt helped finance his tuition at a private Catholic boarding school in New Jersey called The Newman School and then, in 1913, at Princeton University. At the time, Princeton University was viewed as a training ground for the American upper class. Coming from a background of “financial anxiety,” while at Princeton, Fitzgerald developed a fascination with the very rich. While his grades were low, he excelled in his writings for the Princeton Triangle Club Dramatic Society and the Princeton Tiger. Fitzgerald’s writing from that time shows that he was self-conscious about the differences between himself and his wealthy classmates. Although his grades were suffering, Fitzgerald was more upset with his struggles to make the Princeton football team. In 1917, during his third year at Princeton, Fitzgerald left school in order to enlist in the United States Army. After passing a special examination, he was commissioned a Second Lieutenant in the infantry. In June 1918, while stationed at Camp Sheridan, near Montgomery, Alabama, twenty-one year old Fitzgerald met and fell madly in love with eighteen-year-old Zelda Sayre.
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Reportatge FRANCIS CUGAT, L’ALTRE CUGAT
reportatge El 24 de maig farà 120 anys que va néixer, accidentalment a Barcelona, Francesc Cugat i Mingall, un home excepcional que va destacar, sobretot en la seva etapa nord-americana, en diverses disciplines. Francis Cugat, el nom amb el qual es conegut, va viure sempre, en la seva etapa adulta, a l’ombra de Xavier Cugat, fet que va suposar que, malgrat el seu gran talent, hagi passat injustament a la història no pel que va fer sinó pel fet de ser el germà gran de Xavier, un personatge d’enormes proporcions, poc valorat aquí, però molt reconegut en vida als EUA, on, per donar una dada, va participar a la Casa Blanca en la cerimònia d’obertura de mandat de set presidents del país. Francis Cugat, l’altre Cugat JOAN BARBARÀ > TEXT I FOTOS rancis Cugat va ser el Inquietuds artístiques primer fill del matrimo- Malgrat la incertesa dels temps que ni que formaven Joan corrien i que no hi havia tradició ar- Cugat de Bru i Àvila Min- tística a la família, Francis Cugat va gall. Després d’ell varen orientar de ben jove la seva vida cap a Fvenir l’Albert, en Xavier i l’Enric. L’ac- la vessant cultural. Sense perdre mai tivitat política del pare —un republicà el contacte amb els seus, quan va po- compromès— les dificultats econòmi- der, va marxar a França i es va apuntar, ques de l’època i les seves ambicions d’antuvi, a l’acadèmia de Reims, i pos- artístiques varen fer que els Cugat en teriorment va ser alumne de l’Escola general, i ell en particular, visquessin de Belles Arts de París.
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ART DECO and BRAZILIAN MODERNISM a Dissertation
SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s.
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The F. Scott Fitzgerald Society Newsletter
The F. Scott Fitzgerald Society Newsletter Volume 23 DECEMBER 2013-2014 The Twelfth International F. Scott Fitzgerald Conference: Montgomery, AL Nov. 6-10, 2013 An antique car worthy of Jay Gatsby helped set Along the way, we enjoyed an afternoon at the the backdrop, the local St. James School band Montgomery planetarium, an aperitif at the local played a medley of jazz and Gatsby-inspired Aviator Bar, and a night of wholly un-1920s rock tunes, and the Southern drawl of Sally Carrol ‘n’ roll in which we were treated to the sizzlin’ Happer filled the air during a performance of guitar licks of Richard Martin and learned that Bill “The Ice Palace” at the opening reception for Blazek is the reincarnation of Hank Williams and the 12th International F. Scott Fitzgerald Society that Walter Raubicheck can channel Dion on com- Conference in Montgomery, Alabama. mand. That vivacious evening, hosted by the F. The closing reception, our “Belles and Jelly-Beans Scott and Zelda Fitzgerald Museum and the Ball,” was held on the Harriott II riverboat. There City of Montgomery, got things off to a great were costumes aplenty as men channeled their start, and the events and excitement contin- inner Gatsby and women their inner flapper. As ued over the next four days of Fitztrava- we cruised along the Alabama River, participants ganza/Zeldapalooza.” enjoyed not only the starry evening and the Montgomery skyline, but also a jazz-age cocktail Around 200 people attended all or some of the presentation by Philip Greene, author of To Have various events during the course of the confer- and Have Another: A Hemingway Cocktail Compan- ence, including academic and scholarly ses- ion.
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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.
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Great Gatsby
The Connell Guide to F. Scott Fitzgerald’s The Great Gatsby by John Sutherland & Jolyon Connell Contents Introduction 4 How much does money matter in the novel? 55 A summary of the plot 6 How does Gatsby compare with Tom? 63 What is The Great Gatsby about? 10 What does The Great Gatsby tell us about How important is the narrator in the the American Dream? 72 novel? 21 How does Fitzgerald treat women in the How do Nick’s shortcomings as a man novel? 87 affect the way he tells his tale? 28 What does the novel tell us about the How plausible is Gatsby? 35 nature of dreams? 94 Is Gatsby’s dream always doomed? 45 How great is The Great Gatsby? 104 The title 10 Ten facts about The Great Gatsby 64 Why “Gatsby”? 14 Gatsby’s heroic military career (or not) 76 Elegiac romance 19 Scott Fitzgerald’s unheroic military career 78 Meet Mr Gatz 36 Drink and remembrance of times past 97 Six key quotes 44 Fitzgeraldian overwriting 107 What exactly is Gatsby’s “racket”? 47 How the novel was received 108 Gatsby believed in the green light 50 A brief biography 112 Meyer Wolfshiem/Arnold Rothstein 54 What the critics say... 119 Newly rich 56 A short chronology 120 Fitzgerald and money 58 Bibliography 122 Great? 63 Index 124 Introduction When The Great Gatsby was first published, in death, but up to a point he is redeemed by it 1925, reviews were mixed. H.L. Mencken called it and by the tenacity with which he clings to it.
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The Advent of Graphic Design
THE ADVENT MODULE 2OF GRAPHIC DESIGN Video Activity 2: Great Gatsby first edition Francis Cugat was a portrait, poster and book jacket artist and set designer. He worked as an illustrator in the 1920s, performed in New York City in the 1940s, and then moved to Hollywood, where he is credited as technical color consultant on sixty-eight films from 1948 to 1955. 1 Watch the video and find out which famous book made him famous as well. https://www.youtube.com/watch?v=B6Fj9ngTl84 SCRIPT It is possible to judge some books by their cover, especially if the book in question is a first edition of The Great Gatsby by F. Scott Fitgerald. Published in 1925, The Great Gatsby is famous for being one of the finest American novels of the 20th century. Jay Gatsby and Daisy Buchanan are characters that linger in the memory, but in the rare book world the value of The Great Gatsby first edition is all in the dust jacket. A first edition with this dust jacket sold for one hundred and eighty-two thousand dollars at auction in 2009 and the vast majority of the price was attributed to the presence of the dust jacket. A first edition without its dust jacket can sell from between two and eight thousand dollars depending on condition, but a first edition with its dust jacket is quite simply a treasure. Back in the 1920s, it was common for publishers to issue their books with illustrated dust jackets, but dust jackets were becoming less of a protective covering and more of a promotional tool for publishers.
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Collection, Memory, and the East Asian Literary Tradition
12222222w33333334 q r q r e Library Notes s q r q r zxxxxxxxdcccccccv ELMER ADLER UNDERGRADUATE BOOK COLLECTING PRIZE The winners of the 2012 Elmer Adler Undergraduate Book Collect- ing Prize were announced at the winter dinner of the Friends of the Prince ton University Library on March 25, 2012. The jury awarded two first prizes, one second prize, and one honorable mention. First prize went to Chloe Ferguson, Class of 2013, and Mary Thierry, Class of 2012. Chloe’s essay, “The Farther Shore: Collec- tion, Memory, and the East Asian Literary Tradition,” discusses how she came to love and collect titles about East Asia. She received a prize of $2,000 and a copy of Emiko Ohnuki-Tierney’s Rice as Self: Japanese Identities through Time. Mary’s essay, “Mirror, Mirror: Ameri- can Daguerrean Portraits,” is about her interest in the intimate na- ture of daguerrean portrait photography. She received a prize of $2,000 and a copy of Roger Taylor and Edward Wakeling’s book Lewis Carroll: Photographer. Second prize was awarded to Mohit Manohar, Class of 2013, for “An Indian Reading Life,” in which he recounts his discovery of In- dian literature at a young age and his difficulties in collecting modern literature in India before he had access to online shopping. Mohit re- ceived a prize of $1,500 and a copy of Partha Chatterjee’s narrative history, A Princely Impostor? The Strange and Universal History of the Kumar of Bhawal. Honorable mention was awarded to Lily Healey, Class of 2013, for “Running after Gatsby,” in which she describes her passion for col- lecting modern editions of The Great Gatsby.
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Companion To
A COMPANION TO IVY TECH WALDRON AUDITORIUM September 5 - 22, 2019 WRITTEN BY F. Scott Fitzgerald ADAPTED FOR THE STAGE BY Simon Levy TABLE OF CONTENTS Director's Note 2 The Geography of The Great Gatsby 3 Remembering and Forgetting in The Great Gatsby 4 Fashion of the Roaring 20's 5 After the Show 7 DIRECTOR’S NOTE by Kate Galvin, Artistic Director, Cardinal Stage I have been captivated by the world of the Roaring 20’s for many years. The fashion, the music, the parties - it all seems incredibly appealing and I’ve often wondered what my life would have been like if I’d lived during this time. But there’s a current of desperation and denial that flows just beneath the champagne and gin. “New” women who worked, drank, smoke and dated whom they pleased, were one threat to the established social order. Ambitious young men who came from nothing and made a fortune on Wall Street were another. And ordinary citizens were demonstrating a blatant disregard for the law and mixing amongst a growing criminal class under the rule of Prohibition. The party that was the Roaring 20’s was always going to be unsustainable, with American society dancing right up to the edge of The Great Depression. Fitzgerald captured this world perfectly in The Great Gatsby. There a danger that creeps in around the edges of his story early on, and if we take the time to notice it, we’ll come to realize that things are not going to end well. For this production, Francis Cugat's 1925 cover art for the original I was greatly inspired by Maureen Corrigan’s book So We Read On, in which she publication of The Great Gatsby, which served as inspiration for this production examines the novel through the lens of a hard-boiled noir.
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