Flappers Lifestyle As Reflected in 'The Great
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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. -
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. -
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. -
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. -
THE GREAT GATSBY by Kristina Janeway Other Titles in This Series
Using the DOCUMENT-BASED QUESTIONS Technique for Literature: F. SCOTT FITZGERALD’S THE GREAT GATSBY by Kristina Janeway Other Titles in This Series Using the Document-Based Questions Technique for Literature: Harper Lee’s To Kill a Mockingbird Item Number 4B4971 Using the Document-Based Questions Technique for Literature: Arthur Miller’s The Crucible Item Number 4B4973 Using the Document-Based Questions Technique for Literature: Elie Wiesel’s Night Item Number 4B4972 Using the Document-Based Questions Technique for Literature: Lois Lowry’s The Giver Item Number 4B5905 Using the Document-Based Questions Technique for Literature: John Steinbeck’s Of Mice and Men Item Number 4B5926 Using the Document-Based Questions Technique for Literature: William Golding’s Lord of the Flies Item Number 4B5924 Using the Document-Based Questions Technique for Literature: George Orwell’s Animal Farm Item Number 4B5925 Using the Document-Based Questions Technique for Literature: George Orwell’s 1984 Item Number 4B6077 Using the Document-Based Questions Technique for Literature: Mark Twain’s Adventures of Huckleberry Finn Item Number 4B5906 Using the Document-Based Questions Technique for Literature: Ayn Rand’s Anthem Item Number 4B6224 Using the Document-Based Questions Technique for Literature: Ray Bradbury’s Fahrenheit 451 Item Number 4B6167 Table of Contents About the Author ........................................................................................................................................................ 3 Correlation to Common Core -
Fitzgerald's Critique of the American Dream
Undergraduate Review Volume 7 Article 22 2011 God Bless America, Land of The onsC umer: Fitzgerald’s Critique of the American Dream Kimberly Pumphrey Follow this and additional works at: http://vc.bridgew.edu/undergrad_rev Part of the American Literature Commons, and the Other American Studies Commons Recommended Citation Pumphrey, Kimberly (2011). God Bless America, Land of The onC sumer: Fitzgerald’s Critique of the American Dream. Undergraduate Review, 7, 115-120. Available at: http://vc.bridgew.edu/undergrad_rev/vol7/iss1/22 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Copyright © 2011 Kimberly Pumphrey God Bless America, Land of The Consumer: Fitzgerald’s Critique of the American Dream KIMBERLY PUMPHREY Kimberly is a senior n James Truslow Adams’ book, The Epic of America, he defines the studying English and American dream as “that dream of a land in which life should be better and richer and fuller for everyone, with opportunity for each according to ability Secondary Education. or achievement” (404). In the middle of the roaring 1920’s, author F. Scott This paper was IFitzgerald published The Great Gatsby, examining the fight for the American kindly mentored by dream in the lives of his characters in New York. Fitzgerald illustrates for the reader a picture of Gatsby’s struggle to obtain the approval and acceptance of high Professor Kimberly Chabot Davis society and to earn the same status. Jay Gatsby travels the journey to achieve the and was originally written for the American dream, but his dream is corrupted and outside forces prevent him from senior seminar course: Gender, Race, ever fully attaining it. -
Literary Analysis: Color Symbolism in the Great Gatsby, by F. Scott Fitzgerald.” Helium 8 Nov
Yaffe, Kyle. “Literary analysis: Color symbolism in The Great Gatsby, by F. Scott Fitzgerald.” Helium 8 Nov. 2008. Web. 29 July 2013. Vibrant, deadly, deceiving, innocent - colors are the dominating symbols utilized by F. Scott Fitzgerald in his masterpiece The Great Gatsby . Daniel J. Schneider, the Chairman of the Department of English for Windham College, states, "The vitality and beauty of F. Scott Fitzgerald's writing are perhaps nowhere more strikingly exhibited than in his handling of the color symbols in The Great Gatsby." Throughout the book characters, places, and objects are given "life" by colors, especially the more prominent ones. The colors of white, yellow, and green are the most eminent, easily distinguishable from the rest, and representing purity, death, and hope. Such strong symbolic colors are seen continually, and exist to provide a higher and more in depth meaning to the book. "White is one of the main symbolic colors in The Great Gatsby, representing purity, innocence, and honesty" (Adam H.). Nick Carraway, Jay Gatsby, Jordan Baker, and Daisy Buchanan all directly exemplify Adam's statement. Nick considers himself the only truly honest person he knows (Fitzgerald 60) and often wears white, such as when he attends one of Gatsby's parties for the first time. This event being considerably significant, Nick wanted to make the best impression he could - that is, appearing untainted and honest - for Gatsby and the other guests. Gatsby also adorns himself in white when he finally reunites with Daisy after five years of separation. "and Gatsby, in a white flannel suit, silver shirt, and gold-colored tie, hurried in" (Fitzgerald 84). -
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. -
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. -
The Great Gatsby Questions
The Great Gatsby (2013) Directed by Baz Luhrmann Preparing for the Film 1. What historical facts about the 1920s might lead to the audience's expectations for the settings, costumes, and even the plot of this film set in that time period? 2. What does the term "The American Dream" mean to you? What are the various components of the dream? 3. In a romantic relationship thwarted by family disapproval or unrequited affection, what are some of the feelings and hopes that might develop in the person who was rejected? 4. If you have read F. Scott Fitzgerald's novel The Great Gatsby, what are some challenges that a director might encounter adapting it for a film version for viewers today? Reflecting on the Film 1. Focusing on the opening scene, what can we infer about the narrator and his motive for this recollection of Jay Gatsby? Explain and evaluate the effectiveness of this narrative framing device, unique to Luhrmann's production. 2. Jay Gatsby does not appear in the film for some time. What is the effect of postponing his presence on the screen? 3. As the film continues, Nick and the audience learn more about Jay Gatsby's background. How does his history help viewers understand the man we see in the mansion on West Egg? 4. Earlier than Gatsby, the audience meets Tom Buchanan and his wife Daisy. What does the director want viewers to see about Tom? 5. The film is rich with images of Long Island and New York City life. Six distinct areas provide important physical and thematic settings for the action of the film: The Buchanan home, Jay Gatsby’s estate, Nick Carraway’s rented cottage, the Wilsons’ apartment above the gas station in the Valley of the Ashes, Tom’s city apartment for his trysts with Myrtle, and the Plaza Hotel room in the city, rented for one afternoon. -
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. -
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.