The Great Gatsby
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Making Pictures the Pinter Screenplays
Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949 Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8. -
9781474451062 - Chapter 1.Pdf
Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema -
The Last of the Belles and Other Stories
The Last of the Belles and Other Stories F. Scott Fitzgerald ALMA CLASSICS AlmA ClAssiCs ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com This collection first published by Alma Classics Ltd in 2015 Extra Material © Richard Parker Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY isbn: 978-1-84749-405-4 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents The Last of the Belles and Other Stories 1 Jacob’s Ladder 3 A Short Trip Home 31 The Bowl 54 The Last of the Belles 82 Majesty 101 At Your Age 123 The Swimmers 140 Two Wrongs 163 The Bridal Party 186 One Trip Abroad 206 The Hotel Child 233 Note on the Texts 256 Notes 256 Extra Material 261 F. Scott Fitzgerald’s Life 263 F. Scott Fitzgerald’s Works 273 Select Bibliography 278 Other books by F. -
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. -
Jordan 1 Matthew Thomas Jordan Professor Howell Tutorial 9 March 2018 a Romantic Readiness
Jordan 1 Matthew Thomas Jordan Professor Howell Tutorial 9 March 2018 A Romantic Readiness: The Virtue of Hope and the Fiction of F. Scott Fitzgerald Not a whit. We defy augury. There is a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man of aught he leaves knows, what is 't to leave betimes? Let be. (Hamlet, V.ii.233-238) The theological virtue of hope has often been confused or mistaken for a conversational meaning of hope. Often saying one hopes for something is interchangeable with saying that one has the wish for something or the desire that something come to pass. This type of hope indicates the attractiveness of something that is by no means certain. If it was certain, why would we hope for it? The theological virtue of hope is not so. Hope is essential for the Christian and yet what we hope for is certain. Abraham, the father of our faith, lived a life in which the only way he could fulfill his purpose was to live by faith and hope, specifically when the Lord promises him that he will bear a son around the age of 100. Instead of wavering at his dismal physical circumstances, Abraham hopes against hope and grows in faith, “Fully convinced that God was able to do what he promised” (Rom. 4:21). Faith (a rational power) and hope (a passional power) are the means by which Abraham fully commits himself to that disposition of hope: being convinced that God will do what He has promised. -
The Short Stories of F. Scott Fitzgerald As Part of an Ongoing Series for the Lewis and Clark Library's Adult Education Progra
The Short Stories of F. Scott Fitzgerald As part of an ongoing series for The Lewis and Clark Library’s Adult Education program, Randall LeCocq is offering a class/discussion group on the short stories of F. Scott Fitzgerald. Classes will be held Wednesday mornings from 10 to 11:30 AM, in the Library’s large meeting room. A registration sheet is available at the Information Desk, which has handouts of the assigned readings. For the website: The class will look at Fitzgerald’s life and work, focusing on five of his most highly acclaimed short stories. Using these stories, we will examine some of Fitzgerald’s central themes: young love and the loss of illusion, the perils of wealth, and “emotional bankruptcy” which comes from fast living. The five short stories will take us through four phases of Fitzgerald’s life, from early success, through Expatriate life in Europe, to Zelda’s breakdown and his own “crack up,” and eventually to his own rejuvenation. We will conclude with Fitzgerald’s non-fiction essays commenting on the Jazz Age and Great Depression, and causes for his own decline. Randall LeCocq, a Helena resident, holds a Master’s Degree in Liberal Studies from Georgetown University, where he specialized in literature and art history. He has taught previous courses at the Library on the novels and short stories of Ernest Hemingway and William Faulkner. Class Schedule: May 23: “Winter Dreams” (1922) May 30: “Absolution” (1924) June 6: “The Rich Boy” (1926) June 13: “The Rough Crossing” (1929) June 20: “Babylon Revisited” (1931), plus autobiographical excerpts from “My Lost City,” (1932) “Echoes of the Jazz Age,” (1931) and “The Crack Up.” (1936) . -
A Look at the Flapper in Fitzgerald's Literary Production
UNIVERSIDADE DE SANTIAGO DE COMPOSTELA FACULTADE DE FILOLOXÍA Grao en Lingua e Literatura Inglesas Not for Old Fogies: A Look at the Flapper in Fitzgerald’s Literary Production Traballo de Fin de Grao escrito por Aitana Castro Coego Baixo a dirección de Patricia Fra López Curso Académico 2018/1019 2 UNIVERSIDADE DE SANTIAGO DE COMPOSTELA FACULTADE DE FILOLOXÍA Grao en Lingua e Literatura Inglesas Not for Old Fogies: A Look at the Flapper in Fitzgerald’s Literary Production Traballo de Fin de Grao escrito por Aitana Castro Coego Baixo a dirección de Patricia Fra López Curso Académico 2018/1019 3 Table of Contents 1. Summary 4 2. Introduction 5 3. Historical Context: North America after the First World War 8 3.1 The Figure of the Flapper 14 4. The Flapper in Fitzgerald’s Literary Production 26 4.1 The Great Gatsby 28 4.2 Flappers and Philosophers 38 4.3 All the Sad Young Men 49 5. Conclusion: End of the Flapper Era 55 6. Works Cited 57 4 1. Summary 5 2. Introduction Once the sad days of World War I were gone, thousands of North American citizens rushed headlong into the upcoming era: The Roaring Twenties. The United States were launched towards an upswing of economic prosperity, which translated into social and cultural changes. As the 1920’s began, these shifts became particularly important for the development of the new role of women in society. Empowerment, financial independence and sexual liberation were some of the objectives to achieve by a section of the female community. Along these lines and as a way of self-expression, ‘women embraced the new freedoms, cutting their hair, applying makeup, and tossing out dowdy fashions of the past for shorter skirts and slinkier more formfitting attire’ (Time-Life 11). -
A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film
A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film Barbara Elisabeth Wyllie School of Slavonic and East European Studies, University College London For the degree of PhD 2 0 0 0 ProQuest Number: 10015007 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015007 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Twentieth-century American culture has been dominated by a preoccupation with image. The supremacy of image has been promoted and refined by cinema which has sustained its place as America’s foremost cultural and artistic medium. Vision as a perceptual mode is also a compelling and dynamic aspect central to Nabokov’s creative imagination. Film was a fascination from childhood, but Nabokov’s interest in the medium extended beyond his experiences as an extra and his attempts to write for screen in Berlin in the 1920s and ’30s, or the declared cinematic novel of 1938, Laughter in the Dark and his screenplay for Stanley Kubrick’s 1962 film version of Lolita. -
The Great Gatsby by F. Scott Fitzgerald Book Discussion Questions Nick 1
The Great Gatsby by F. Scott Fitzgerald Book Discussion Questions Nick 1. Nick believes he is an honest, nonjudgmental narrator. Discuss the reliability of Nick Carraway as the narrator of The Great Gatsby. 2. The novel's action occurs in 1922 between June and September. How does Nick's non- chronological narration shape your response to the events surrounding the mystery of Jay Gatsby? 3. What is Nick Carraway's role in the novel? Consider Nick's father's advice in chapter one: "Whenever you feel like criticizing anyone, just remember that all the people in this world haven't had the advantages that you've had." Does telling the story from Nick's point of view make it more believable? 4. Why did Nick become involved with Jordan, and why did he break off the relationship? 5. Whom do you think the characters in The Great Gatsby represent? Do they seem like real people? Which characters seem the most real to you? Who, if any, do you find most sympathetic? Most important, in what way do the events of the novel affect Nick Carraway? How, or to what degree, does he change? Gatsby 1. How is the character of Jay Gatsby presented to the reader? 2. What part of his past is Gatsby trying to recapture? Is he successful? Is there a person, feeling, or event in your past that you'd want to revisit? Gatsby believes that the past can be repeated. Is he right? 3. What do you think the sad thing that happened to Gatsby might be? 4. -
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. -
The Great Gatsby by F. Scott Fitzgerald Spring 2011 MFAH Book Club Selection Discussion Questions (Adapted from Various Sources)
The Great Gatsby By F. Scott Fitzgerald Spring 2011 MFAH Book Club Selection Discussion Questions (adapted from various sources) Use the discussion questions on the following pages to facilitate your book club’s conversation! Then visit www.mfah.org/bookclub to request a tour for your group. Tours feature works of art on view at the MFAH that explore subjects, themes, and ideas similar to those outlined in the questions below. To get warmed up, how do you think these two paintings relate to The Great Gatsby? 1. How does Gatsby represent the American dream? What does the novel have to say about the condition of the American dream in the 1920s? 2. Describe Nick as a narrator. In what ways does he sound reliable or unreliable? How do his qualities as a character affect his narration? 3. Discuss Gatsby’s character as Nick perceives him throughout the novel. In what ways is he ‘great’? In what ways is he not? 4. Throughout the novel, characters reference past events. How is nostalgia important to the novel? How is Gatsby tethered to the past? 5. How does F. Scott Fitzgerald reveal character in The Great Gatsby? Who is the most complex or full-developed character in the novel? Does any character grow or change? 6. How does geography feature in the story? How do key locations (West Egg, East Egg, New York City, The Valley of Ashes) relate to the action that takes place there? How does the Midwest compare to the East coast in Nick’s mind? 7. How does Gatsby fit the definition of a “self-made man”? In what ways does he take it too literally? 8. -
F. Scott Fitzgeralds the Great Gatsby Pdf, Epub, Ebook
F. SCOTT FITZGERALDS THE GREAT GATSBY PDF, EPUB, EBOOK John Sutherland | 128 pages | 23 Oct 2018 | CONNELL PUBLISHING LTD | 9781907776014 | English | United Kingdom F. Scott Fitzgeralds The Great Gatsby PDF Book He was famous. It was F. Score on SAT Reading. Of the many new writers that sprang into notice with the advent of the post-war period, Scott Fitzgerald has remained the steadiest performer and the most entertaining. Remember: art only imitates, but doesn't duplicate life. But not everyone had trouble seeing the future: in a cover story about Gertrude Stein, the intellectual icon offered her prognostications on the literature of her time. And I hope she'll be a fool - that's the best thing a girl can be in this world, a beautiful little fool. Get a Britannica Premium subscription and gain access to exclusive content. And, of course, Nick agrees to set up a tea date for his cousin Daisy and Gatsby. Mozart loved potty jokes. Coming behind them, Tom stops his car when he sees a commotion on the road. Anna Wulick. As they are about to drink mint juleps to cool off, Tom confronts Gatsby directly on the subject of his relationship with Daisy. Entertain your brain with the coolest news from streaming to superheroes, memes to video games. Overview of the life and career of American writer F. Unsuccessful upon publication, the book is now considered a classic of American fiction and has often been called the Great American Novel. Learn about what movies and books have gotten wrong about F. Another figure from King's circle reportedly appears in fictionalized form in the novel.