The Great Gatsby

Total Page:16

File Type:pdf, Size:1020Kb

The Great Gatsby The Great Gatsby Play Guide Arizona Theatre Company Play Guide 1 TABLE OF CONTENTS The Great Gatsby 3 WHO WE ARE 33 TIMELINE OF EVENTS CONTENTS 4 INTRODUCTION TO THE PLAY 38 DIRECTING GATSBY 4 CHARACTERS 42 SYMBOLISM IN THE GREAT GATSBY 6 SYNOPSIS 45 GLOSSARY AND PERIOD REFERENCES 7 F. SCOTT FITZGERALD IN THE PLAY 13 AN INTERVIEW WITH SIMON LEVY 49 DISCUSSION QUESTIONS 17 THE ROARING TWENTIES 53 AMERICA PLAYS! LESSON PLANS 20 PROHIBITION 59 REFERENCES 24 THE JAZZ AGE 26 THE AMERICAN DREAM 28 NEW YORK IN THE 1920s 29 WOMEN IN THE 1920s It is Arizona Theatre Company’s goal to share the enriching experience of live theatre. This play guide is intended to help you prepare for your visit to Arizona Theatre Company. Should you have comments or suggestions regarding the play guide, or if you need more information about scheduling trips to see an ATC production, please feel free to contact us: Tucson: April Jackson Phoenix: Cale Epps Associate Education Manager Education Manager (520) 884-8210 ext 8506 (602) 256-6899 ext 6503 (520) 628-9129 fax (602) 256-7399 fax The Great Gatsby Play Guide compiled and written by Jennifer Bazzell, Literary Manager and Katherine Monberg, Artistic Intern. Discussion questions and activities prepared by Cale Epps, Education Manager April Jackson, Associate Education Manager and Amber Tibbitts, Education Associate. Layout by Gabriel Armijo. Support for ATC’s Education and Community Programming has been provided by: Organizations Mrs. Laura Grafman Ms. Norma Martens APS Individuals Kristie Graham Hamilton McRae Arizona Commission on the Arts Ms. Jessica L. Andrews and Mr. and Mrs. Paul Green Ms. Rita A. Meiser Bank of America Foundation Mr. Timothy W. Toothman Mr. Greg B. Hales Ms. Thelma Miller SPONSORS City Of Glendale Ms. Beth A. Bank Mr. David Hansen Ms. JeanMarie Moore Community Foundation for Mr. and Mrs. Franklin L. Bennett Mr. Terrence M. Hanson Mr. and Mrs. Fred A. Nachman III Southern Arizona Mr. Brain Blaney Ms. Athia L. Hardt Thomas C. Patterson Cox Charities Jana Bommersbach Ms. Brenda Helps Mr. and Mrs. John D. Ratliff Jr. Downtown Tucson Partnership Mr. Robert Booker Mr. Ken Heron Mr. and Mrs. Chris Reaney Enterprise Holdings Foundation Ms. Sally Branch Leigh Herr Ms. Marsha Reingen Ford Motor Company Fund Ms. Peter Deluca and Mr. and Mrs. M. Langdon Hill Dr. and Mrs. Sanford H. Roth Freeport-McMoran Mrs TamarRala Kreiswirth Megan Hilty Ms. Jennifer Ruddle Copper & Gold Foundation Mr. and Mrs. Darryl B. Dobras Mr. David Iaconis Mr. Fernando Romero and Gannett Sharon Dupont McCord Mr. Gary Jordan Ms. Dina Scalone-Romero JPMorgan Chase Mr. and Mrs. Bruce L. Dusenberry Mr. Richard Kautz Drs. John and Helen Schaefer National Endowment for the Arts Ms. Laura Evans Mr. Darrel Kidd Mr. and Mrs. Eric E. Schindler Phoenix Office of Arts and Culture Mr. and Mrs. Burton Faigen Mr. Randall Kincaid Mr. and Mrs. Lewis D. Schorr PICOR Charitable Foundation Mr. and Mrs. Edward Farmilant Mr. Everett L. King III Mr. Michael C. Schroeder and Scottsdale League for the Arts Ms. Catherine M. Foley Mr. and Mrs. Dennis Knight Mr. Steven J. Eagleson Stonewall Foundation Ms. Sandra Foss Mr. Kenneth Kociuba Mr. and Mrs. Michael Seiden Target Mr. and Mrs. Eric Freedberg Mr. and Mrs. Richard C. Kraemer Salim Shafi The Boeing Company Mr. Jack Friedland Mr. Jeff Kunkel Mr. and Mrs. Elliott J. Solomon The Donald Pitt Family Foundation Mr. and Mrs. Jeffrey P. Gaia Mr. Jeff Lemon Ms. Jan Spaeth The Johnson Family Foundation, Inc. Mr. Henry Gallin Mr. William C. Lewis and Mr. Howard N. Stewart The Marshall Foundation Ms. Kate Garner Mr. Rick K. Underwood Ms. Terri Thorson The Maurice and Meta Gross Foundation Dr. Mary Jo Ghory Mr. Ray Lombardi Mr. Michael Tompkins The Max and Victoria Dreyfus Foundation Mr. Patric Giclas and Meilani Lombardi Andres Mr. Thomas Warne The Stocker Foundation Mrs. Gail M. Giclas Mr. Rick Lombardo Mr. Russ Wiles The William L. and Ruth T. Pendleton Mr. and Mrs. David Ira Goldstein Mr. and Mrs. James Lovelace Quinn Williams Memorial Fund Ms. Linda Goode Ina Manaster Leslie Woodruff Tucson Medical Center Tucson Pima Arts Council Arizona Theatre Company Play Guide 2 ARIZONA THEATRE COMPANY: WHO WE AREThe Great Gatsby Thousands of people make our work at ATC possible! WHO WE ARE WE WHO Arizona Theatre Company is a professional, not-for-profit theatre company. This means all of our artists, administrators and production staff are paid professionals, and the income we receive from ticket sales and contributions goes right back into our budget to create our work, rather than to any particular person as a profit. Each season, ATC employs hundreds of actors, directors and designers from all over the country to create the work you see on stage. In addition, ATC currently employs about 100 staff members in our production shops and administrative offices in Tucson and Phoenix during our season. Among these people are carpenters, painters, marketing professionals, fundraisers, stage directors, computer specialists, sound and light board operators, tailors, costume designers, box office agents, stage crew -the list is endless- representing an amazing range of talents and skills. We are also supported by a Board of Trustees, a group of business and community leaders who volunteer their time and expertise to assist the theatre in financial and legal matters, advise in Herberger Theatre in Phoenix, Arizona marketing and fundraising, and help represent the theatre in our community. Roughly 150,000 people attend our shows every year, and several thousands of those people support us with charitable contributions in addition to purchasing their tickets. Businesses large and small, private foundations and the city and state governments also support our work financially. All of this is in support of our mission: to create professional theatre that continually strives to reach new levels of artistic Temple of Music and Art in Tucson, Arizona excellence and that resonates locally, in the state of Arizona and throughout the nation. In order to fulfill its mission, the theatre produces a broad repertoire ranging from classics to new works, engages artists of the highest caliber, and is committed to assuring access to the broadest spectrum of citizens. Arizona Theatre Company Play Guide 3 F. Scott Fitzgerald’s The Great Gatsby The Great Gatsby Adapted by Simon Levy INTRO Directed by Stephen Wrentmore INTRODUCTION TO THE PLAY Considered by many to be the Great American Novel, The Great Gatsby is at once titillating, fascinating and shocking in its portrayal of The Jazz Age that was soon to disappear from the American landscape. In this first authorized adaptation since 1926, Simon Levy brings the humor, irony, pathos and loveliness of F. Scott Fitzgerald’s American classic to the stage. Navigate the languid atmosphere of wealth and privilege with Nick Carraway as he observes the glittering, elaborate parties of his neighbor, the infamous and illusive Jay Gatsby. Part of ATC’s AMERICA PLAYS! Celebrating Great American Stories series, The Great Gatsby’s Scenic Model by Yoon Bae, designer for ATC’s The sharp depiction of the “American Dream” resonates Great Gatsby anew for each generation. CHARACTERS Jay Gatsby: A “Midwesterner” by birth, Gatsby’s past is shrouded in mystery, while his present persona exhibits an incredibly rich man with a strong emotional attachment to a woman from his past. “‘I wouldn’t ask too much of her,’ [Nick] ventured. ‘You can’t repeat the past.’ ‘Can’t repeat the past?’ [Gatsby] cried incredulously. ‘Why of course you can!’" Daisy Buchanan: Born to a wealthy family in Louisville, Daisy is a debutante and socialite whose past with Gatsby collides with her present life with her husband, Tom. “‘Her voice is full of money,’ [Gatsby] said suddenly. That was it. I’d [Nick] never understood before. It was David Macdonald, the actor who plays full of money — that was the inexhaustible charm that Jay Gatsby in ATC’s The Great Gatsby rose and fell in it, the jingle of it, the cymbals’ song of it ... high in a white palace the king’s daughter, the golden girl.” Arizona Theatre Company Play Guide 4 The Great Gatsby Nick Carraway: Nick is a true Midwesterner, having come East to attend Yale and then work in bonds and CHARACTERS explore New York. Nick is the play’s narrator and it is through his eyes that we experience the other characters and the events of the story. He is the cousin and former classmate of Daisy and Tom Buchanan, respectively. “Everyone suspects himself of at least one of the cardinal virtues, and this is mine: I [Nick] am one of the few honest people that I have ever known.” Tom Buchanan: A Yale-educated man from a wealthy and respected family, Tom has never had to play by the rules because the rules don’t apply to someone of Costume rendering for Nick by David K. his social standing. “‘Now, don’t think my opinion Mickelsen, costume designer for ATC’s on these matters is final,’ [Tom] seemed to say, ‘just The Great Gatsby because I’m stronger and more of a man than you are.’” Jordan Baker: A professional female golf player, Jordan has little family but money to spare. A friend of Daisy and Tom, Jordan is a knowledgeable source of gossip regarding the social circles in which the characters move. “She was incurably dishonest. She wasn’t able to endure being at a disadvantage and, given this unwillingness, I [Nick] suppose she had begun dealing in subterfuges when she was very young in order to keep that cool, insolent smile turned to the world and yet satisfy the demands of her hard, jaunty body.” Myrtle Wilson: A fiery woman of a lower social class than many of the other characters in the play, Myrtle and her husband George live in the valley of ashes near New York City.
Recommended publications
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • “Old Sport” Is Jay Gatsby's Way of Life: Familiarity, Snobbery, Ridicule
    東洋大学人間科学総合研究所紀要 第21号(2019)27‐4327 “Old Sport” Is Jay Gatsby’s Way of Life: Familiarity, Snobbery, Ridicule, and Failure* Tomoyuki ASAKAWA** 1. Introduction F. Scott Fitzgerald gave Jay Gatsby certain characteristics in The Great Gatsby (1925). One of them is his “smile,” another is “old sport.”1 “[In] Gatsby, Fitzgerald made the smile a chief part of the character’s makeup. The smile becomes as synonymous with Gatsby as the use of ‘old sport’” (Dubose, 90n). Since Fitzgerald was aware of the importance of the phrase, he increased its usage in the narrative―it appeared only 4 times in the manuscript (Bruccoli, Introduction xxix-xxx), 38 times in the galleys, and 45 times in the published edition.2 His use of “old sport,” drastically increased through the revisions, contributes to making Gatsby conspicuous― “The ‘old sport’ phrase [. .] fixes Gatsby as precisely as his gorgeous pink rag of a suit” (Eble 90). Gatsby him- self uses “old sport” 42 times out of 45 uses. “Old sport” is not a mere term of address. It was originally an “early twentieth-century British upper-class slang term” (Randall III 191) and a sophisticated phrase used among students at Oxford in those days.3 Jay Gatsby, however, is neither an alumnus of Oxford nor a member of the upper class. Moreover, the inconsistency of the novel makes “old sport” more difficult to comprehend. In Gatsby, a person from a certain class does not necessarily exhibit behaviors, language, or a manner of speech suited to their class. The man whose “parents were shiftless and unsuccessful farm people” (Gatsby 76; henceforth GG ) in the Middle West does not act in tune with his origin.
    [Show full text]
  • The Selectiveness of Nick Carraway
    The Selectiveness of Nick Carraway The Unreliable Narrator in The Great Gatsby Corse: English for subject teachers 61-90 credits Individual Project (15 credits) Author: Windy Daniel Examiner: Zlatan Filipovic Autumn 2018 Windy Daniel Title: The Selectiveness of Nick Carraway: The Unreliable Narrator in The Great Gatsby Author: Windy Daniel Supervisor: Jenny Malmqvist Abstract: Many scholars have argued back and forth regarding the reliability of the narrator Nick Carraway in F. Scott Fitzgerald’s most well-known novel The Great Gatsby. Nick’s attention to detail in his narrative is the element due to which many scholars argue in favour of his reliability. One of these scholars is Wayne C. Booth, who was the first that introduced reliability and unreliability, and marked Nick as a reliable narrator. Nick’s account is a retrospective telling of events which happened two years earlier and Booth argues for Nick’s reliability because he provides the benefit of hindsight. However, in this essay, I will argue that Nick Carraway is an unreliable narrator as the consequence of his selectiveness that is visible in the narrative. Through Nick’s selectiveness, four categories are evident: concealment of information, censorship, memory, and drunkenness. As a result, these categories, alongside the central aspect of selectiveness, verify the suppression of the complete plot which Nick hides from the reader. Keywords: Reliability, narratology, selectiveness, concealment, censorship, memory, drunkenness. 2 Windy Daniel Table of Content 1. Introduction
    [Show full text]
  • 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.
    [Show full text]
  • A Fiskean Analysis of Baz Luhrmann's 2013 Cinematic Adaptation of the Great Gatsby Anushiravani, Alireza; Khodamoradpour, Marjan
    www.ssoar.info Playing the old tunes: a fiskean analysis of Baz Luhrmann's 2013 cinematic adaptation of the Great Gatsby Anushiravani, Alireza; Khodamoradpour, Marjan Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Anushiravani, A., & Khodamoradpour, M. (2016). Playing the old tunes: a fiskean analysis of Baz Luhrmann's 2013 cinematic adaptation of the Great Gatsby. International Letters of Social and Humanistic Sciences, 71, 60-70. https:// doi.org/10.18052/www.scipress.com/ILSHS.71.60 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de International Letters of Social and Humanistic Sciences Submitted: 2016-04-27 ISSN: 2300-2697, Vol. 71, pp 60-70 Revised: 2016-07-04 doi:10.18052/www.scipress.com/ILSHS.71.60 Accepted: 2016-07-06 © 2016 SciPress Ltd., Switzerland Online: 2016-07-25 Playing the Old Tunes: A Fiskean Analysis of Baz Luhrmann’s 2013 Cinematic Adaptation of The Great Gatsby 1, a * 2,b Marjan Khodamoradpour , Alireza Anushiravani 1Graduate Student, Department of Foreign Languages, Shiraz University, Iran 2Professor, Department of Foreign Languages, Shiraz University, Iran [email protected], [email protected] * Corresponding author Keywords: The Great Gatsby, Cinematic Adaptation, Baz Luhrmann, John Fiske, Ideology Abstract. Scott Fitzgerald’s The Great Gatsby has been adapted many times by different directors. However, the two prominent adaptations standing out throughout history are Jay Clayton’s 1974 adaptation as the most sincere rendering of the book, and the recently adapted movie by the Broadway director, Baz Luhrmann.
    [Show full text]
  • Ahmed G Maklad
    The American University in Cairo School of Humanities and Social Sciences Scott Fitzgerald’s The Great Gatsby: Critical Reception and Visual Interpretation A Thesis Submitted to The Department of English and Comparative Literature In Partial Fulfillment of the Requirements for The Degree of Master of Arts By Ahmed G Maklad Under the supervision of Dr. Ferial Ghazoul January/ 2015 The American University in Cairo Scott Fitzgerald’s The Great Gatsby: Critical Reception and Visual Interpretation A Thesis Submitted by Ahmed G Maklad To the Department of English and Comparative Literature January/2015 In partial fulfillment of the requirements for The degree of Master of Arts Has been approved by Dr. Ferial Ghazoul Thesis Committee Advisor____________________________________________ Affiliation_________________________________________________________ Dr. Stephen Nimis Thesis Committee Reader____________________________________________ Affiliation_________________________________________________________ Dr. Mounira Soliman Thesis Committee Reader____________________________________________ Affiliation_________________________________________________________ __________________ __________ __________________ ____________ Dept. Chair Date Dean of HUSS Date ii Acknowledgments First and foremost, I would like to express my sincere gratitude to my thesis advisor and mentor Professor Ferial Ghazoul for her continuous support during my graduate study at the American University in Cairo. Most of all I would like to thank her for her patience, motivation,
    [Show full text]
  • ENDURING HOPE the LEGACY of the GREAT GATSBY in THREE DIMENSIONS by Elizabeth R. Padilla a Project Presented to the Faculty of H
    ENDURING HOPE THE LEGACY OF THE GREAT GATSBY IN THREE DIMENSIONS By Elizabeth R. Padilla A Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: Literature Committee Membership Dr. Kathleen Doty, Committee Chair Dr. David Stacey, Committee Member Dr. Nikola Hobbel, Graduate Coordinator December 2014 ABSTRACT ENDURING HOPE THE LEGACY OF THE GREAT GATSBY IN THREE DIMENSIONS Elizabeth R. Padilla In this analysis of F. Scott Fitzgerald’s The Great Gatsby I compare it to the 2013 film adaptation of the same title by Baz Luhrmann. I explore four key elements crucial to an informed understanding of the novel’s most poignant theme, the transformative effect of the American individual’s response to hope: narrative point of view, the use and function of music, the use and function of fashion, and the use and function of the automobile. I examine the novel for its presentation of themes regarding the principle characters’ capacity for hope and the perception of reality that results from their responses; in tandem I examine the film for ways in which it effectively captures the essence of these themes. Most notably I focus on the particularly contemporary choices Luhrmann made for his film and the opportunities that are presented for new and renewed readings of the novel. I argue that the film is, in spirit, a faithful adaptation of a period novel that successfully maintains its own contemporary relevance. Along with joining in conversation with scholars who have compared earlier film versions to the novel, such as Dennis Cutchins, who discusses the benefits of film adaptation analysis in the teaching of literature, I also examine critical scholarship on Fitzgerald and The Great Gatsby novel, and Baz Luhrmann’s film techniques, as well as ii literary, sonic, and dramatic scholarship that investigates film adaptation and interpretation.
    [Show full text]
  • Crime, Morality, and Their Role in the Great Gatsby
    Cleveland State University EngagedScholarship@CSU ETD Archive 2013 Civilization Is Going to Pieces: Crime, Morality, and Their Role in the Great Gatsby Kathryn F. Machcinski Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the English Language and Literature Commons How does access to this work benefit ou?y Let us know! Recommended Citation Machcinski, Kathryn F., "Civilization Is Going to Pieces: Crime, Morality, and Their Role in the Great Gatsby" (2013). ETD Archive. 189. https://engagedscholarship.csuohio.edu/etdarchive/189 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. “CIVILIZATION IS GOING TO PIECES”: CRIME, MORALITY, AND THEIR ROLE IN THE GREAT GATSBY KATHRYN F. MACHCINSKI Bachelor of Science in Education University of Dayton May 2007 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSITY December 2013 ©COPYRIGHT BY KATHRYN FRANCES MACHCINSKI 2013 We hereby approve the thesis of Kathryn F. Machcinski Candidate for the Master of Arts in English degree for the Department of English and the CLEVELAND STATE UNIVERSITY College of Graduate Studies ________________________________________________________________________ ____________________________________________ Thesis Chairperson, Frederick J. Karem Department of English December 5, 2013 _____________________________________________ Thesis Committee Member, Adam T. Sonstegard Department of English December 5, 2013 _____________________________________________ Thesis Committee Member, James Marino Department of English December 5, 2013 Student’s Date of Defense: December 5, 2013 “CIVILIZATION IS GOING TO PIECES”: CRIME, MORALITY, AND THEIR ROLE IN THE GREAT GATSBY KATHRYN F.
    [Show full text]
  • F. Scott Fitzgerald's
    GREAT GATSBY.qxd 1/20/2015 2:43 PM Page i F. SCOTT FITZGERALD’S THE GREAT GATSBY ADAPTED FOR THE STAGE BY SIMON LEVY # # DRAMATISTS PLAY SERVICE INC. GREAT GATSBY.qxd 1/20/2015 2:43 PM Page 2 THE GREAT GATSBY Copyright © 2013, Simon Levy All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE GREAT GATSBY is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all coun- tries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval sys- tems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Adaptor’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territo- ries, possessions and Canada for THE GREAT GATSBY are controlled exclusively by DRAMA- TISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016.
    [Show full text]