Journal articles: 'Scott Fitzgerald Great Gatsby'

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Neha, Neha. "Decline of Hero Jay Gatsby in F. Scott. Fitzgerald: The Great Gatsby." Indian Journal of Applied Research 3, no. 8 (October 1, 2011): 371–72. http://dx.doi.org/10.15373/2249555x/aug2013/120.

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Šavle, Majda. "Indirect narration : a case study of Conrad's Heart of darkness and Fitzgerald's The Great Gatsby." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 117–27. http://dx.doi.org/10.4312/an.40.1-2.117-127.

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Joseph Conrad's narrative style bas influenced many writers, including F. Scott Fitzgerald. The objective of my study on verbs used in discourse in Conrad's Heart of Darkness and Fitzgerald's The Great Gatsby was to confirm the speculation that besides Conrad's innovative technique of indirect narration there were other techniques (such as careful selection of imagistic detail) Fitzgerald learned from Conrad.

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Duffy, Dennis. "To glow with bright colours : Jimmy Gatz's trip to Oz." Journal of English Studies 3 (May 29, 2002): 64. http://dx.doi.org/10.18172/jes.71.

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L. Frank Baum's The wonderful wizard of Oz (1900) could have furnished F. Scott Fitzgerald with a matrix of imagery and thematic for his The Great Gatsby (1925). The children's classic had sold widely and even been dramatized during Fitzgerald's childhood. Its emphasis on the greenness of the Emerald City foretells the role played by the colour green in Fitzgerald's novel. Baum's relentless optimism offers a foil to the profoundly tragic vision of the novelist; his title figure (also from the American Midwest) resembles Gatsby in his fraudulence. The shallowness of material fulfilment had preoccupied Fitzgerald since "The Diamond as Big as the Ritz" (1921). Gatsby enriched that vision. Could Wizard have furnished him with a network of imagery?

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Neha, Neha. "Materialism And American Dream In F. Scott. Fitzgerald: The Great Gatsby." International Journal of Scientific Research 2, no. 8 (June 1, 2012): 225–26. http://dx.doi.org/10.15373/22778179/aug2013/74.

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Keshmiri, Fahimeh. "The Disillusionment of F. Scott Fitzgerald’s Dreams and Ideals in The Great Gatsby." Theory and Practice in Language Studies 6, no. 6 (June 7, 2016): 1295. http://dx.doi.org/10.17507/tpls.0606.21.

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In F. Scott Fitzgerald’s The Great Gatsby, the American economy ascended, bringing unprecedented levels of affluence to the nation. The chaos of World War I left America in a state of distress, and the generation that fought the war turned to profligate living to recompense. In this novel, Fitzgerald found this new lifestyle seductive and, like Gatsby, he had always idolized the very rich. In this era, unrestrained materialism set the tone of society, which ends to the collapse of all characters and society. This novel represents Fitzgerald’s attempt to confront his conflicting feelings about the Jazz Age. Here we analyze major characters, symbols, themes and plot of this masterpiece as a tragedy, and a social novel. This creative work has been identified as one of the greatest novels of all time with Fitzgerald's incredible use of realism and symbolism. Moreover; there are some elements that make this work a modernistic and existential one. These key elements that made this work a success are obvious in the development of characters, plot, themes and setting throughout the novel. It is a highly symbolic meditation on 1920s America as a whole.

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Susylowati, Eka. "ASPEKTUALITAS DALAM NOVEL THE GREAT GATSBY OLEH F. SCOTT FITZGERALD." PRASASTI: Journal of Linguistics 4, no. 1 (May 11, 2019): 19. http://dx.doi.org/10.20961/prasasti.v4i1.28848.

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This research aims to reveal the form and marker of aspectuality in The Great Gatsby novel written by F. Scott Fitzgerald. The data in this study are written data in the form of words, clauses, and sentences in the novel The Great Gatsby. It was written by F. Scott Fitzgerald consists of three forms of aspectuality namely perfective / completed, progressive, and repetitive / habitual. The aspect that is often used is perfective / completed aspiration. Aspectuality markers used including perfective aspect characterized by past verb or had + past participle verb, while progressive aspect are marked to be + verb ing, and repetitive / habitual are marked with past verb or infinitive forms.

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Santos, Jenison Alisson dos, Caio Antônio de Medeiros Nóbrega Nunes Gomes, and Elisa Mariana de Medeiros Nóbrega. "On Booze: a representation of The Roaring Twenties in the great Gatsby." Revista Letras Raras 4, no. 2 (October 31, 2015): 152–64. http://dx.doi.org/10.35572/rlr.v4i2.431.

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Fitzgerald is considered by many to be the spokesperson of the 1920’s post-World War I, offering his readers a distinctive look into the Golden Age of the U.S.A.. This article focuses on F. Scott Fitzgerald’s masterpiece The great Gatsby (2001) and its representation and criticism of the historical context in which author and novel are inserted: the Jazz Age or the Roaring Twenties of the United States of America. For this purpose, our critical framework is based on Bloom’s (2006) and Heise’s (2001) studies on the subject, targeting a pertinent dialogue with Fitzgerald’ s work. As a result of our articulation between the critical framework and the corpus, we were able to recognize how the American author managed to express in his work a keen perception of the social conventions and the morals of the Jazz Age, of both the overt (the parties and the ostentation) and the covert aspects (the emptiness of that society and the unspoken post-war dread) of his time.

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Bahuwa, Ritna. "AN ANALYSIS OF MASLOW’S HIERARCHY OF NEED IN THE GREAT GATSBY NOVEL BY FRANCISS SCOTT FITZGERALD’S." British (Jurnal Bahasa dan Sastra Inggris) 7, no. 2 (November 26, 2019): 110. http://dx.doi.org/10.31314/british.7.2.110-119.2018.

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This research discussed the main character’s need, Jay Gatsby. Namely, psychological needs, safety needs, love, and belonging need, Esteem needs, and actualization need. The objective of this research is to analyze the Abraham Maslow’s hierarchy need described in the Gatsby novel by Francis Scott Key Fitzgerald. This research used a descriptive qualitative method and Abraham Maslow’s theory. The result of this research was found from five types of Abraham Maslow’s need, there were two types that were not fulfilled by Jay Gatsby, namely safety needs, and love and belongingness need so, that actualization needs could not be reached.Keywords: Jay Gatsby, Abraham Maslow’s Hierarchy of Needs

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Edwards, A. S. G. "F. Scott Fitzgerald,The Great Gatsby: "Like an Angry Diamond"." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 19, no. 2 (March 2006): 54–55. http://dx.doi.org/10.3200/anqq.19.2.54-55.

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Valls Oyarzun, Eduardo. "THE ROTTEN, THE SICK AND THE WELL: GENEALOGÍA CONRADIANA DE LO MORBOSO EN THE GREAT GATSBY." Epos : Revista de filología, no. 34 (November 28, 2019): 311. http://dx.doi.org/10.5944/epos.34.2018.21754.

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El presente artículo plantea un elemento poco tratado en la relación de influencia de Joseph Conrad (1857-1924) sobre The Great Gatsby (1925), de Francis Scott Fitzgerald, a saber: la estructura, el desarrollo y el alcance ideológico de la metáfora de lo morboso como manifestación de la disfuncionalidad implícita en los sistemas sociales que no observan el principio de responsabilidad. El artículo presenta un marco teórico en el que se definen las líneas maestras del concepto de responsabilidad conradiano, que es análogo, como se sostiene en el artículo, al concepto de responsabilidad promovido por Friedrich Nietzsche, y mantiene diferencias cruciales con el concepto de Thomas Carlyle (1795-1881). El referido marco se emplea para indagar en el campo tropológico de la enfermedad y la podredumbre en la novela de Francis Scott Fitzgerald. A modo de conclusión se abordan las diferencias entre responsabilidad social y responsabilidad individual como elemento diferenciador de los principios ideológicos que entran en conflicto en la novela.ABSTRACTThis article examines an element that has rarely been tackled by critics when discussing the influence of Joseph Conrad (1857-1924) on Francis Scott Fitzgerald’s The Great Gatsby (1925), to wit: the structure, development and ideological scope of the idea of the “morbid” as representation of dysfunctional communities that do not observe the principles of responsibility. The article posits a theoretical framework that develops the main features of Conrad’s idea of responsibility, which, in turn, resembles that of Friedrich Nietzsche and deviates notably from that of Thomas Carlyle (1795-1881). The said framework is then deployed in order to delve into the images of sickness and rottenness in Fitzgerald’s novel. As a conclusion, the article examines the difference between two sorts of responsibility: social and individual, for they are the main constituents of the ideological conflicts the novel features.

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Teixeira, Karine. "Luhrmann, Baz. The Great Gatsby. EUA, 2013, 2h 23 min." Cadernos de Tradução 39, no. 3 (September 12, 2019): 393–408. http://dx.doi.org/10.5007/2175-7968.2019v39n3p393.

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A resenha versa acerca das escolhas tradutórias feitas na adaptação fílmica realizada por Baz Luhrman, em 2013, da obra literária The Great Gatsby, publicada por F. Scott Fitzgerald em 1925. Trazendo considerações de estudiosos como Even-Zohar (1990), Xavier (2003), Lucas (2007), entre outros, de a modo a expor como o contexto histórico-social interfere no processo tradutório de uma obra para as telas.

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Djohar, Hasnul Insani. "The Power of Hegemonic Classes in F. Scott Fitzgerald’s The Great Gatsby." Buletin Al-Turas 19, no. 2 (January 23, 2018): 297–306. http://dx.doi.org/10.15408/bat.v19i2.3722.

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Topik dari tulisan ini adalah untuk membahas kajian budaya dengan berfokus pada hegemoni budaya, memperkenalkan gagasan dari kelompok yang berkuasa untuk mengontrol masyarakat. Tulisan ini akan mengangkat isu bagaimana kelas-kelas yang menguasai hidup pada tahun 1920an. Tujuan dari tulisan ini adalah untuk menganalisis The Great Gatsby karya Scott Fitgerald untuk menyimpulkan tentang gambaran kelas dan kekuatan aristrokrasi untuk mendominasi kelompok yang tidak berkuasa, dengan menggunakan kajian budaya, dari teori hegemoni Antonio Gramci. Secara khusus, penelitian ini berfokus pada perjuangan Jay Gatsby untuk menghadapi hegemoni kelompok aristokratik, yang kekuasaannya sangat berpengaruh. Dalam cerita tersebut, kelompok kaya baru, yang diwakili oleh Jay Gatsby, hidup di daerah West Egg, sementara kelompok aristokratik, yang diwakili oleh Tom Buchanan, tinggal di East Egg. Tom selalu menjadi pemenang karena dia datang dari kelompok aristokratik, yang keluarganya sangat berpengaruh. Oleh karena itu, Gatsby selalu kalah dalam persaingan melawan Tom walaupun sebesar apapun Gatsby berkuasa. Dengan mempelajari perjuangan Gatsby dalam novel ini, kita mendapatkan sebuah pemahaman yang lebih baik bagaimana kelompok yang lemah, bukan hanya di masyarakat Amerika, tetapi juga masyarakat lain di dunia juga akan berjuang untuk berkompetisi dengan kelompok aristrokratik.---Abstract The topic of this paper is the pursuit of cultural studies focusing on cultural Hegemony, introduces the notion of the dominant groups’ power to control society. It will also raise the issue of how hegemonic classes live in 1920s. The objective is to analyze, using cultural studies, Antonio Gramsci’s Hegemony, Scott Fitzgerald’s The Great Gatsby in order to come to some conclusions about depictions of aristocratic classes and powers in order to dominate powerless groups. Specifically, the research focuses on Jay Gatsby’s struggles to face the hegemony of aristocratic groups, whose affluent supremacy. In the story, the new moneyed group, represented by Jay Gatsby, lives in West Egg while the aristocratic group, represented by Tom Buchanan, lives in East Egg. Tom is always the winner because he comes from the aristocratic groups, whose prestigious family. Therefore, Gatsby always loses compete against Tom no matter how hard Gatsby tries. By learning Gatsby’s struggle in this novel, we gain a better understanding of how other powerless groups, not only in American society, but also other society in the world, who also struggle to compete with the aristocratic groups.

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Vedoin, Gilson, Ingra Cristina Silvestre, and Victor Vinícius Do Carmo. "The Great Gatsby: Love and the Accumulation of Financial Capital and Symbolic." Guará 7, no. 1 (June 30, 2017): 21. http://dx.doi.org/10.18224/gua.v7i1.6254.

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This paper aims to highlight the capital relations that permeate the story the Great Gatsby, Francis Scott Fitzgerald, considered here as the hipotexto, founding text on design of Gerard Genette (2010) and your the most recent film adaptation, hypertext (GENETTE, 2010, p. 12) that works as transposition and/or updating the previous text made by the Australian Director Baz Luhrmann in 2013. In this sense, from the theoretical formulations proposed by Pierre Bourdieu (1996) about the art as social, historical and cultural phenomenon, the product of a structured and stratified society, we use the concepts of capital and symbolic power to highlight the logic financier that articulates the personal relationships and emotional in the narrative of Fitzgerald, above all, from a reading of their analytical structural elements. In this analysis, we focused on conflict cells established between the characters, the Narrator, the spaces and the temporal dynamics established in hipotexto interaction written with filmic hypertext.O Grande Gatsby: Amores e o Acúmulo de Capitais Financeiros e Simbólicos O presente trabalho se propõe a evidenciar as relações capitais que permeiam a narrativa O Grande Gatsby, de Francis Scott Fitzgerald, considerada aqui como o hipotexto, texto fundante na concepção de Gerard Genette (2010) e sua adaptação cinematográfica mais recente, hipertexto (GENETTE, 2010, p.12) que funciona como transposição e/ou atualização do texto anterior realizada pelo diretor australiano Baz Luhrmann em 2013. Nesse sentido, a partir das formulações teóricas propostas por Pierre Bourdieu (1996) acerca da arte como fenômeno social, histórico e cultural, produto de uma sociedade estruturada e estratificada, utilizamos as noções de capital e poder simbólico para evidenciar a lógica financista que articula as relações pessoais e afetivas na narrativa de Fitzgerald, sobretudo, a partir de uma leitura analítica de seus elementos estruturais. Nessa análise, enfocamos as células de conflito estabelecido entre as personagens, o discurso do narrador, os espaços e a dinâmica temporal que se estabelece na interação do hipotexto escrito com o hipertexto fílmico.

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Pacheco, Gilda. "The lost steps of The great Gatsby." Revista de Filología y Lingüística de la Universidad de Costa Rica 16, no. 2 (August 30, 2015): 27. http://dx.doi.org/10.15517/rfl.v16i2.19420.

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En este artículo se presenta un análisis comparativo de El gran Gatsby de F. Scott Fitzgerald y Los pasos perdidos de Alejo Carpentier. Al comparar y contrastar personajes, escenarios, imágenes y arquetipos, es posible ver las bases para el fracaso del mito llamado "sueño americano", un tema clásico en la literatura de Estados Unidos, también se encuentra en la obra del novelista cubano. Dualismo, el individualismo, la búsqueda de la identidad, así como la ambición, la indiferencia y la esperanza son elementos ESENCIALES en ambas obras que conducen al fracaso del mito. Así es como dos regiones diferentes, dos escritores con fondo diferente, la cultura y el entorno, y dos novelas escritas con veinticinco años de diferencia muestran además el mismo distorsionado sueño corrompido y perdido: un sueño inaccesible e inalcanzable implícito en el título irónico y melancólico del artículo.This articles presents a comparative analysis of F. Scott Fitzgerald's The Great Gatsby and Alejo Carpentier Los pasos perdidos. By comparing and contrasting characters, scenarios, images and archetypes, it is possible to see that the bases for the failure the myth called "the American dream", a classical topics in US. literature, are also found in the work by the Cuban novelist. Dualísm, individualism, the search for identity, as well as ambition, indifference and hope are essential elements in both works which lead to the failure of the myth. That is how two different regions, two writers with different background, culture and setting, and two novels written twenty five years apart show the same distorted, corrupted and lost dream: an inaccessible and unreachable dream implicit in the ironic and melancholic title of the article.

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Villanea Morales, Lucía. "NOT A GREAT WINNER, BUT AN ORDINARY LOSER." InterSedes 21, no. 44 (September 25, 2020): 170–77. http://dx.doi.org/10.15517/isucr.v21i44.43942.

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This essay presents a characterization analysis of F. Scott Fitzgerald’s The Great Gatsby. Being aware of his underprivileged origin, Jay Gatsby spends his whole life amassing his fortune. By examining his behavior in the novel, it is feasible to acknowledge his level of ambition, corruption, alienation, and ultimately loss. In spite of Gatsby’s apparent greatness, failure and decay govern his whole life. He was born not only with delusions of greatness but also with the ability of being corrupt; in his attempt of belonging to the aristocratic class, he loses both everything he has longed for and his own life. Thus, Gatsby’s unreachable dream makes him an ordinary loser, who is only skilled at making money from dirty business.

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Rauf, Raad Sabr. "F. Scott Fitzgerald's Tender is the Night Cons and Pros of the Narrative Method and Technique." Cihan University-Erbil Journal of Humanities and Social Sciences 4, no. 1 (July 19, 2020): 65–68. http://dx.doi.org/10.24086/cuejhss.v4n1y2020.pp65-68.

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Most critics tackle Fitzgerald's works thematically, whereas what distinguishes his fictional narratives is his magnificent style, suggestive language and innovative narrative methods and techniques. This is quite evident in The Great Gatsby and other pieces like The Last Tycoon, "The Mountain as Big as the Ritz", the autobiographical piece The Crack Up, etc. Tender is the Night is among these masterpieces which is our major concern in this paper. Yet still, this novel witnessed some controversial issues in its narrative technique and method. The study of the narrative method and technique in Tender is the Night has no less significance in the literary world than it has in The Great Gatsby. In fact, Fitzgerald mounted his artistic maturity and craftsmanship in this novel despite all the controversial issues that surrounded the novel's first publication. The present study sheds light on the cons and pros of the narrative technique and method in both versions of Tender is the Night with necessary reference to the development of the events in the novel.

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Bezerra da Silva, Ricelly Jáder. "The Great Gatsby e o personagem Nick Carraway como ser de fronteira." Revista Odisseia 4, no. 1 (April 6, 2019): 34–54. http://dx.doi.org/10.21680/1983-2435.2019v4n1id16278.

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The Great Gatsby, de F. Scott Fitzgerald, publicado primeiramente em 1925, é um dos mais importantes romances do cânone literário estadunidense. Em seu texto, Fitzgerald apresenta relações socioculturais da década de 1920, nos EUA, período conhecido como a “era do jazz”, em que ocorreram mudanças socioculturais significativas. A narrativa é contada através da perspectiva do personagem Nick Carraway. Assim, o objetivo deste artigo é analisar a posição do referido personagem como um ser de fronteira, pois Carraway transita entre diferentes ambientes sociais sem pertencer a nenhum deles. Dessa forma, partimos da hipótese de que, como ser de fronteira, o personagem revela problemas socioculturais de sua época. Como base teórica, recorremos aos estudos de semiótica da cultura de Lótman (1996), e à discussão de Bakhtin (2011) acerca da personagem literária. O resultado indica que é através da posição fronteiriça do personagem que problemas sociais, morais e culturais são revelados ao leitor.

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Sabariyanto, Sabariyanto. "Structural Analysis of F. Fitzgerald's The Great Gatsby." Metathesis: journal of English language, literature, and teaching 2, no. 2 (October 31, 2018): 184. http://dx.doi.org/10.31002/metathesis.v2i2.865.

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ABSTRACTThe objectives of this research are to find out the relatedness between setting and characterization F. Scott Fitzgerald’s The Great Gatsby and to find out the relatedness between setting and plot in F. Scott Fitzgerald’s The Great Gatsby. This research used library research method and used stuctural approach. So this only focus on the intrinsic elements which build the story as a literary work, such as plot, character, and setting. The result of the research shows that structural elements of F. Fizgerald’s The Great Gatsby present a solid unity. Each element has close relation with other elements in forming the wholeness of the story. Here, there is the relatedness between setting and plot and the relatedness between plot and character in F. Fitzgerald’s The Great Gatsby.

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Avsenak, Vanja. "Name etymology and its symbolic value in Francis Scott Fitzgerald's "The great Gatsby"." Acta Neophilologica 36, no. 1-2 (December 1, 2003): 41–48. http://dx.doi.org/10.4312/an.36.1-2.41-48.

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The aim of my paper is to scrutinize the manifold interpretations of proper names and their possible symbolical value that the reading of F. S. Fitzgerald's classic leaves in the reader. On the whole, the novel's internal structure is rather comprised, which consequently makes the story exact, its plot condensed, but behind this seemingly concise and more or less simple language the author nevertheless manages to embody powerful symbolism that speaks for itself. It is disputable whether Fitzgerald truly aimed to produce such a strong metaphorical emphasis that would most minutely delineate America's social character in the turbulent twenties as projected in the personal stories of the novel's leading protagonists. Within this figurative scope, large as it is, 1 therefore focus only on the significance of proper names and their obvious contribution to the holistic social portrayal. It may be only a minor, but nevertheless one of the most reliable and crucial means of outlining the consequences of the postwar spiritual apathy that overwhelmed the American nation and was in duced by the societal downfall due to the disillusion of the American Dream. How this Dream influenced each individual's and society's destiny remains to be my goal in this article. For the purpose of analysis 1 rely on the 1994 Penguin edition. All direct quotes from now on are to be taken from this source.

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Kruse, Horst. "The Real Jay Gatsby: Max von Gerlach, F. Scott Fitzgerald, and the Compositional History of The Great Gatsby." F. Scott Fitzgerald Review 1, no. 1 (January 2002): 45–83. http://dx.doi.org/10.1111/j.1755-6333.2002.tb00059.x.

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Suharyati, Henny. "Moral and Manners of Flappers (New Woman) in F. Scott Fitzgerald Works." JHSS (JOURNAL OF HUMANITIES AND SOCIAL STUDIES) 2, no. 1 (August 28, 2018): 47–50. http://dx.doi.org/10.33751/jhss.v2i1.822.

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Flapper's phenomenon appeared in the 1920s in line with the feminist achievement on women's suffrage. Industrialism opened the possibility for vistas of young American generations at that time to undergo a good member of changes both in moral and manners. The characteristics of flappers are reflected in literary works by Fitzgerald, an American famous novelist. In achieving the objective of this research, a qualitative method is applied by the way of library research - collecting data from both primary and secondary sources. The former, This Side of Paradise (1919), a novel telling about the young generation, The Great Gatsby (1925) and Tender is The Night, both describing the maturity of the flappers. The outcome of the research proves that there is a similarity, in moral and manners, between the flappers in Fitzgerald's fictions and those in reality during the 1920s. The new values differed from the old ones which were maintained by the cult of true womanhood, especially in concern with those young generations performances, manners, and morals. The media encouraged the development of the new values. There is also a sense of paradox: on one hand Fitzgerald implicitly tended to spread out the moral and manners of flappers, but on the other hand, he criticizes them.

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Bettiol, Maria Regina Barcelos. "DA NARRATIVA AO CINEMA: O RETORNO TRIUNFAL DE JAY GATSBY." Revista de Estudos Literários 4 (January 20, 2016): 441–53. http://dx.doi.org/10.14195/2183-847x_4_20.

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Neste colóquio, cujo tema central é o estudo da personagem como categoria fundamental do discurso literário, propomo-nos a revisitar a personagem Gatsby, personagem principal do romance The Great Gatsby publicado em 1925 pelo escritor norte-americano Francis Scott Key Fitzgerald. Gatsby encanta gerações de leitores há décadas, tornou-se uma personagem ícone não apenas na Literatura dos Estados Unidos mas uma personagem emblemática no panorama dos estudos literários pelos debates que suscitou e, ainda suscita, a respeito de valores individuais e coletivos, uma personagem que desafiou o mito do sonho americano e que conquistou notoriedade internacional imprimindo o seu nome na galeria das grandes personagens. A popularidade de Gatsby rompeu as fronteiras do literário migrando para outros espaços mediáticos, entre eles: o cinema, a televisão, o teatro, a banda desenhada, os jogos de computador, o balé e a ópera, apenas para citarmos alguns exemplos dessas produtivas relações intertextuais e interdisciplinares que emergiram a partir da leitura do romance de Fitzgerald. Em sendo assim, este ensaio baseado nas teorias da narratologia pós-clássica – especialmente a desenvolvida por Henriette Heidbrink que estuda as personagens em diferentes media – tem como objeto de estudo a reconfiguração da personagem Gatsby das páginas da literatura para as telas do cinema demonstrando que a sobrevida da personagem, e sua excelente receção junto ao público, deve-se, em boa parte, pela sua imensa capacidade de reconfiguração em diferentes media, fator este que explica os 88 anos de um esplendoroso sucesso de uma personagem que literalmente sobreviveu à morte do autor.

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BENDER, BERT. "“His Mind Aglow”: The Biological Undercurrent in Fitzgerald's Gatsby and Other Works." Journal of American Studies 32, no. 3 (December 1998): 399–420. http://dx.doi.org/10.1017/s0021875898005982.

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They talked until three, from biology to organized religion, and when Amory crept shivering into bed it was with his mind aglow…(Fitzgerald, This Side of Paradise)Readers familiar with F. Scott Fitzgerald's early work might recall that in those years just before the Scopes trial he wrote of Victorians who “shuddered when they found what Mr. Darwin was about”; or that he joined in the fashionable comic attacks on people who could not accept their “most animal existence,” describing one such character as “a hairless ape with two dozen tricks.” But few would guess the extent to which his interest in evolutionary biology shaped his work. He was particularly concerned with three interrelated biological problems: (1) the question of eugenics as a possible solution to civilization's many ills, (2) the linked principles of accident and heredity (as he understood these through the lens of Ernst Haeckel's biogenetic law), and (3) the revolutionary theory of sexual selection that Darwin had presented in The Descent of Man and Selection in Relation to Sex (1871). As I hope to show in the following pages, his concern with these issues underlies such well-known features in the Fitzgerald landscape as his insecurity in the “social hierarchy” (his sense of its “terrifying fluidity”), his emphasis on the element of time, his interest in “the musk of money,” his interest in Spengler and the naturalists, and his negative portraiture of male violence. The principles of eugenics, accidental heredity, and sexual selection flow together as the prevailing undercurrent in most of Fitzgerald's work before and after The Great Gatsby, producing more anxiety than love from the tangled courtships of characters he deemed both beautiful and damned.

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Barrett, Laura, Ridie Ghezzi, and Jay Satterfield. "For Your Enrichment: Jay Gatsby Goes to College." Reference & User Services Quarterly 55, no. 1 (September 25, 2015): 11. http://dx.doi.org/10.5860/rusq.55n1.11.

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Jay Gatsby, the main character in F. Scott Fitzgerald’s 1925 novel The Great Gatsby, is a self-made man. He entered St. Olaf College in Minnesota but then dropped out during his first term because of the humiliating circumstances of his poverty. Gatsby’s flight from college contrasts with the Ivy League education of Fitzgerald’s narrator, Nick Carraway, the Yale graduate better equipped to navigate East Egg’s social world. Gatsby’s experience is still relevant today: while the transition to higher education is often difficult for young people, it is especially so for first-generation students. Many students can call on the experiences of family members to help them acclimate to the college environment, but first-generation students lack a road map for academic success and social comfort in what can feel like an alien world. These students often face even greater hurdles at highly selective institutions such as Dartmouth College, where expectations for academic achievement are high and the social climate is often unfamiliar.

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Sales, Antonia De Jesus. "Fitzgerald, F. Scott. O Grande Gatsby. Tradução de Vanessa Bárbara. São Paulo: Companhia das Letras, 2011. 249 p." Cadernos de Tradução 36, no. 2 (May 9, 2016): 298. http://dx.doi.org/10.5007/2175-7968.2016v36n2p298.

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http://dx.doi.org/10.5007/2175-7968.2016v36n2p298A presente resenha busca discutir a tradução de The Great Gatsby para o contexto brasileiro. Diversas traduções foram feitas, em diversas épocas e com repercussão positiva no contexto brasileiro. Para o presente estudo, foi observada a tradução de Vanessa Bárbara, de 2011. Nesse sentido, o aspecto biográficos do autor e a forma como se apresentam os personagens na obra são fatores de cotejamento na obra original e na tradução brasileira. Francis Scott Key Fitzgerald (1896 – 1940) é famoso por ter em suas obras traços biográficos, algo que certamente influencia o leitor que adentra a sua obra. Quanto à recepção de O Grande Gatsby no contexto brasileiro, há que se considerar que O Grande Gatsby teve diversas traduções no Brasil. Depois dessa tradução de Vanessa Bárbara, em 2011, outras três vieram em 2013, juntamente com o filme. Há que considerar os aspectos comerciais embutidos nessas traduções e que muito corroboram para o resultado final. Prova disso são as capas, que são sempre diferenciadas em cada edição lançada. O tradutor nem sempre pode opinar sobre questões como estas. A tradução, a meu ver, é uma obra de qualidade, visto que a tradutora buscou ser fiel, sem dificultar a interpretação da obra para o leitor.

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Kim, Yeonman. "Cityscape and Tragedy In F. Scott Fitzgerald's The Great Gatsby." Modern Studies in English Language & Literature 60, no. 1 (February 28, 2016): 307–18. http://dx.doi.org/10.17754/mesk.60.1.307.

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Diadechko, A. "The Reflection of the Era of the “Roaring Twenties“ in the F.S.Fitzgerald’s Novel «The Great Gatsby»." Fìlologìčnì traktati 12, no. 2 (2020): 7–14. http://dx.doi.org/10.21272/ftrk.2020.12(2)-1.

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The article deals with the portraying “Roaring Twenties” which marked a legendary and unprecedented period in the history of American society. Though this era goes back to the beginning of the 20th century, it has never stopped arousing deep common interest because of its uniqueness. Having been abundantly reflected in numerous pieces of art and literature, “Roaring Twenties”, synonymously named “The Jazz Age”, go on provoking public discussion and reevaluation. If viewed in literary terms, this epoch is certainly linked with the name of Francis Scott Fitzgerald (1896-1940) and with his best known novel “The Great Gatsby” filmed five times. The writer is considered to be one of the best chronicler of the American 1920s. Fitzgerald’s masterpiece had embodied many symbols and icons of America which travelled though one hundred years and still feature contemporary society. The articles attempts to outline extra-lingual information and data that shape the temporal and cultural background of the novel. It aims at providing the readers with sufficient additional information that may significantly enlarge on the novel context grasping. It proposes a detailed description and interpretation of symbols and markers of the American 1920s which typically feature “Roaring Twenties” and the ways they are projected onto Fitzgerald’s story. In particular, the focus is made on American Dream doctrine, New York of the 1920s, the conflict between “the old money” and “the new money”, feminism and fashion, alcohol and crime, music, cars. Some parallels between the author’s life story and his characters are also specified.

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Al Haj, Ali. "Symbolism in Selected Novels of F rancis Scott Fitzgerald : With Special Reference to The Great Gatsby." Bulletin of The Faculty of Languages & Translation 6, no. 2 (January 1, 2014): 6–28. http://dx.doi.org/10.21608/bflt.2014.166539.

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Ryzhenko, M. V., O. V. Anisenko, and Yu S. Maksymenko. "CONCEPT “AMERICAN DREAM” IN F. SCOTT FITZGERALD’S NOVEL “THE GREAT GATSBY”." Тrаnscarpathian Philological Studies 2, no. 17 (2021): 193–96. http://dx.doi.org/10.32782/tps2663-4880/2021.17-2.36.

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GROSS, DALTON, and MARY-JEAN GROSS. "F. SCOTT FITZGERALD'S AMERICAN SWASTIKA: THE PROHIBITION UNDERWORLD AND THE GREAT GATSBY." Notes and Queries 41, no. 3 (September 1, 1994): 377—a—377. http://dx.doi.org/10.1093/nq/41-3-377a.

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Moghari, Shaghayegh. "Ideological Morality, Generality, and Particularity of Pip and Gatsby in Charles Dickens’ Great Expectations and F. Scott Fitzgerald’s The Great Gatsby." Randwick International of Social Science Journal 2, no. 1 (January 31, 2021): 90–96. http://dx.doi.org/10.47175/rissj.v2i1.182.

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‘Subaltern’ and ‘other’ are the two labels that are attributed to the weaker members of the society and the whole world in general sense in terms of color of the skin, the gender, the financial conditions, and the social status. This study attempts hard to defend the characters of Pip and Gatsby who were considered as ‘subaltern’ and ‘other’ by the unjust society and system around them and as a result, though they attained the wealth they always dreamed of, they failed to attain a good life that they deserved. Even Pip, who succeeded in marrying his beloved, cannot be regarded as a lucky guy because he was able to have her only after a divorce that she experienced in her first marriage; so, this cannot be taken as a success for Pip. The following issues will be expanded and examined in details to clarify the way the present researcher has always tried to encourage the world around her to treat the weaker better, and also to convert the world into a better place to live by enjoying equal rights for all: Gayatri Spivak, the voice of the voiceless, ‘Other’ and ‘subaltern’ in Pip and Gatsby, and the unfair oppression of the world against the so called ‘other’ and ‘subaltern.’

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Sulistyaningsih, Sulistyaningsih, and Dina Merris Maya Sari. "The Ideological Reflection in F. Scott Fitzgerald's Novel, The Great Gatsby, (Post-Colonial Literature)." ATAVISME 21, no. 1 (July 20, 2018): 121–32. http://dx.doi.org/10.24257/atavisme.v21i1.439.121-132.

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This study aims to disclose the cultural reflection of post-colonialism in F. Scott Fitzgerald’s novel, The Great Gatsby. This research uses analytical approach of post-colonial literature in the form of colonial behavior passed down to the weak, namely the colonized who consciously or unconsciously becomes the object of ideological oppression and power hegemony. The data collection techniques were reading, identifying, classifying, interpreting, inferring. The results of the analysis of events in the novel suggest that the descriptions of the colonized ideology are in the forms of hybrid ideology, mimicry, ethnicism, racism, sexism, and classism. The author describes that Gatsby has reflected ideology of hybrid, mimicry, racism, and ethnicism in his struggle to change his social status to be a rich man designated as the Jazz to attract Desy, his former girlfriend who has left him to marry Tom who has reflected ideology of classism and sexism to the colonialized native inhabitant.

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Churchwell. "“The Balzacs of America”: F. Scott Fitzgerald, Burton Rascoe, and the Lost Review of The Great Gatsby." F. Scott Fitzgerald Review 14, no. 1 (2016): 6. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.0006.

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Rida Pambudi, Himawan Agung, Barnabas Sembiring, and Indah Damayanti. "THE PORTRAYAL OF WOMEN IN THE GREAT GATSBY BY F. SCOTT FITZGERALD AND IT’S RELATIONSHIP TO INDONESIAN WOMEN ON EDUCATION." Journal of English Education and Teaching 2, no. 4 (June 25, 2019): 48–67. http://dx.doi.org/10.33369/jeet.2.4.48-67.

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This research is aimed to find out and explain the characteristics of women character, to know how the novel portrayed the women and how Indonesian women on education portrayed. According to the data, the researcher gets the result that show characteristics of 3 major women characters. Daisy Buchanan has two characteristics, there are Pessimistic and Materialistic, Jordan Baker also has two, Masculine and Worried, and the last is Myrtle Wilson is Materialistic. Besides that, the researcher also explains the portrayal of women in the novel and relate it to the 1920s era where does the novel come from. The researcher also compared and portrayed the characteristics of American women in the novel and Indonesian women characters.

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Wardle, Mary. "Eeny, Meeny, Miny, Moe: The Reception of Retranslations and how readers choose." Cadernos de Tradução 39, no. 1 (January 10, 2019): 216–38. http://dx.doi.org/10.5007/2175-7968.2019v39n1p216.

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Um dos paradoxos da era digital é que permitiu que empresas pequenas e independentes convivessem lado a lado com corporações multinacionais, uma tendência refletida no mercado editorial, onde participantes internacionais coexistem na web ao lado de editores pequenos e independentes, muitas vezes ávidos por encomendar retraduções como “apostas seguras”. Devido ao fácil acesso dos consumidores à Internet e aos baixos preços dos vendedores, as vendas de livros correspondem cada vez mais ao modelo estatístico da “cauda longa”, segundo o qual são vendidas altas quantidades de relativamente poucos bestsellers, com o gráfico despencando abruptamente devido a um alto número de itens vendendo poucas cópias. Muitas retraduções estão com frequência disponíveis simultaneamente e, como as vendas se dividem entre elas, tendem a estarem distribuídas ao longo dessa “cauda”. Com o aumento das vendas online, seja de livros impressos ou em formato digital, quando se trata de comprar um texto traduzido, os compradores muitas vezes se veem defrontados com a escolha entre várias edições diferentes. O presente artigo investiga algumas das influências que afetam essas escolas, usando retraduções de The Great Gatsby [O grande Gatsby] de F. Scott Fitzgerald para o italiano e de Il principe [O príncipe] de Machiavelli para o inglês. Faz-se referência à mudança da resenha escrita profissionalmente para as avaliações online de consumidores, bem como à importância dos elementos paratextuais, como as capas.

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WESTERMEYER, JOE. "The Great Gatsbyby F. Scott Fitzgerald. New York, Scribner, 2004, 192 pp., $14.00." American Journal of Psychiatry 166, no. 12 (December 2009): 1415–16. http://dx.doi.org/10.1176/appi.ajp.2009.09091369.

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Martell and Vernon. "“Of Great Gabasidy”: Joseph Conrad's Lord Jim and F. Scott Fitzgerald's The Great Gatsby." Journal of Modern Literature 38, no. 3 (2015): 56. http://dx.doi.org/10.2979/jmodelite.38.3.56.

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Choi, Jungsun. "Using a Film Adaptation in Teaching Literature: In Case of the Comparison of F. Scott Fitzgerald’s The Great Gatsby and Baz Luhrmann’s The Great Gatsby." Korean Society for Teaching English Literature 20, no. 3 (December 13, 2016): 117–42. http://dx.doi.org/10.19068/jtel.2016.20.3.06.

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Dekoven, Marianne. "Guest Column: Why Animals Now?" PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 361–69. http://dx.doi.org/10.1632/pmla.2009.124.2.361.

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Myrtle Wilson, Tom Buchanan's working-class lover in F. Scott Fitzgerald's The Great Gatsby, wants “one of those police dogs” as an ornament “for the apartment,” because “they are nice to have” (27). Tom, Myrtle, and our narrator, Nick Carraway, have just arrived at Penn Station and gotten into a taxi, in the novel's second chapter. Myrtle boarded the train in Queens, site of her home in the Eliotic “valley of ashes,” joining Nick and Tom on the rail commute from their respective class-bound Long Island Eggs, upper East and nouveau West, into the city that is “built with a wish out of non-olfactory money” (69).

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Syahril, Syahril. "WOMEN AND MARRIAGE: AN ANALYSIS COMPARATIV LITERATURE ON THE NOVEL INDONESIA, ENGLAND, AND AMERICA." Ar Raniry : International Journal of Islamic Studies 4, no. 2 (January 1, 2018): 291. http://dx.doi.org/10.20859/jar.v4i2.141.

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A novel can represent reality. Thus, a character in a novel with his or her complexity, might be a portrait or a representation of a real person. This article discusses representations or images of women in three novels from three different social background. They are Kalau Tak Untung (Selasih, Indonesia), Far From The Madding Crowd (Thomas Hardy, England), and The Great Gatsby (F. Scott Fitzgerald, United States). All of these three novels represent women in both positive and negative images. The positive images are: independent, hard working, rebellious, and futuristic (in thinking). Meanwhile, the negative images are reckless, naïve, materialistic, seductive, unfaithful, egoist and passive. The three novels show some facts. The first is that women will work hard when they are in an unpleasant situation, particularly when they need money. In this situation they will not mind doing man’s job. The second similarity is that woman with good education seems to have better behavior than those who lack education. The third fact is that there are some women who value their happiness by the wealth they can get.

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Wardle, Mary. "Fact and Fiction: The Contribution of Archives to the Study of Literary Translation." Vertimo studijos 12 (December 20, 2019): 165–76. http://dx.doi.org/10.15388/vertstud.2019.11.

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This paper examines the role of traditional physical archives within Translation Studies research, investigating the contribution that such resources can add, providing information that otherwise would not be available in existing scholarly volumes, academic journals and digital material. The question is illustrated with the specific case of F. Scott Fitzgerald’s The Great Gatsby (1925) and its first two translations into Italian, carried out respectively in 1936 by Cesare Giardini and 1950 by Fernanda Pivano. Both translations were published by Mondadori, Italy’s largest publishing company, as part of two different series, I romanzi della palma and the later Medusa collection.Adopting a microhistory approach, the study of these translations, through the resource-rich archives of the Fondazione Arnoldo e Alberto Mondadori in Milan, can shed light on a number of issues that the text alone cannot provide: documentation, including the other books published in the same series, highlights the target audience that Mondadori were seeking to address; the paratextual elements of the books themselves are revealing of the prominence (or otherwise) of American literature in general and Fitzgerald in particular within the Italian literary polysystem at the time of their publication; in the case of the first translation, readers’ reports on the novel indicate how the censors of the Fascist regime might receive the somewhat racy themes contained in the book, while, in the case of the 1950 translation, correspondence between the publisher, literary agents and the translator herself highlight the many issues surrounding the ultimate publication of the volume.

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Valūnaitė-Oleškevičienė, Giedrė, Ramunė Eugenija Tovstucha, Liudmila Mockienė, Jelena Suchanova, and Andrius Puksas. "ELIMINATION OF CULTURAL LINGUISTIC GAPS IN THE LITHUANIAN TRANSLATION OF F. SCOTT FITZGERALD’S NOVEL “THE GREAT GATSBY”." CBU International Conference Proceedings 6 (September 25, 2018): 829–35. http://dx.doi.org/10.12955/cbup.v6.1256.

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The aim of this study is to analyse the translation strategies of culture-specific items used in the Lithuanian translation of F. Scott Fitzgerald’s novel The Great Gatsby, published in 2013 by seeking to determine strategies chosen by the Lithuanian translator in order to eliminate cultural gaps related to culture-specific items, as well as to determine which of the strategies are predominant and therefore which translation approach prevails. The research is carried out relying on the classification of translation startegies provided by Pedersen (2005) which include strategies such as official equivalent, retention, specification, direct translation, generalization, substitution, and omission. Quantitative analysis is used to determine which strategies are predominant in the translation, while qualitative analysis is employed to discuss the reasonability of translator’s choices. Knowledge and awareness of the translation strategies of culture-specific items provide easily identifiable advice on how culture-specific items could be used and translated.

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Khodamoradpour, Marjan, and Alireza Anushiravani. "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 (July 2016): 60–70. http://dx.doi.org/10.18052/www.scipress.com/ilshs.71.60.

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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. The latter adaptation is important in that it has been accomplished in the age of technology, in 3D format, and at the time of the new readings, i.e. cultural or new historical readings, of the novel. This paper is an endeavor to analyze the movie through John Fiske’s theory on media studies. Also, an effort has been made to see whether in this new adaptation, the idea of the new studies of the novel have been shown by the director, or else the movie is a mere representation of struggle for money discussed by the traditional Marxist scholars, metaphorically playing the old tunes.

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Buitenhuis, Peter. "Trimalchio:200128Edited by James L. W. West III. Trimalchio: An Early Version of The Great Gatsby by F. Scott Fitzgerald. Cambridge: Cambridge University Press 2000. 192 pp, ISBN: 0 521 40237 9 £30.00 The Cambridge Edition of the Works of F. Scott Fitzgerald." Reference Reviews 15, no. 1 (January 2001): 32–33. http://dx.doi.org/10.1108/rr.2001.15.1.32.28.

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Norris, Marcos Antonio. "“Her Voice is Full of Money”: Mechanical Reproduction and a Metaphysics of Substance in F. Scott Fitzgerald’s The Great Gatsby." English Studies 99, no. 8 (November 17, 2018): 890–903. http://dx.doi.org/10.1080/0013838x.2018.1541217.

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Christensen, Bryce J. "The Mystery of Ungodliness: Renan's Life of Jesus as a Subtext for F. Scott Fitzgerald's The Great Gatsby and “Absolution”." Christianity & Literature 36, no. 1 (December 1986): 15–23. http://dx.doi.org/10.1177/014833318603600105.

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Rauf, Raad S., and Krm E. Danail. "Narrators' Credibility." Cihan University-Erbil Journal of Humanities and Social Sciences 5, no. 1 (May 10, 2021): 35–38. http://dx.doi.org/10.24086/cuejhss.v5n1y2021.pp35-38.

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The debate on the reliability of the story teller or narrator in fiction writing is so intense to the degree of controversy. Ever since the early stages of fiction writing, most of the novelists seek new methods and techniques in writing their stories. Some of them have achieved success and became known worldwide, and their works have become masterpieces and essential landmarks in the world of fiction. These works have been among the curricular subjects taught in the most esteemed universities in the world. These eminent works have mostly been tackled thematically by reason of the novelty and importance of their themes, yet there are only a handful critiques on their technical aspects, style, diction being used, or narrative methods. This is a comparative study of some of such works like F. Scott Fitzgerald’s The Great Gatsby in comparison with some other works such as Joseph Conrad’s Heart of Darkness and Emily Bronte’s Withering Heights.

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WORDEN, DANIEL. "A Salamander and Seahorse in Sepia Tone: The Great Gatsby: A Graphic Adaptation by F. Scott Fitzgerald. Adapted by Nicki Greenberg. Crows Nest, NSW, Australia: Allen & Unwin, 2007. 306 pages." F. Scott Fitzgerald Review 8, no. 1 (September 16, 2010): 231–37. http://dx.doi.org/10.1111/j.1755-6333.2010.01050.x.

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Nuhiu, Remzije. "SOME ISSUES REGARDING THE TRANSLATION OF ADJECTIVES IN LITERARY TEXTS FROM ENGLISH TO ALBANIAN." Knowledge International Journal 28, no. 7 (December 10, 2018): 2259–62. http://dx.doi.org/10.35120/kij28072259r.

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Translation of literary texts has always been a huge challenge for translators. To translate a Shakespearean sonnet seems almost impossible when having in consideration the artistic value as well as textual complexity. Some critics even discuss the percentages as to what is more possible to translate in terms of literary genres. Undoubtedly, poetry is harder to translate from one language to another. Drama is easier to translate as it does not have the lengthy description of images that novels have. Translation of novels is somewhere in the middle. The last one is going to be object of discussion in this paper. However, having in mind that a wider research on translation of novels may take a lengthy work, this paper will limit its discussion on the translation of adjectives only. This work will be based on the novel The Great Gatsby by Francis Scott Fitzgerald and its translation in Albanian Getsbi i Madh by Stavri Pone. Starting from the point that English language is far richer than Albanian language in terms of vocabulary, one can predict that this issue may be quite interesting to discuss. Another dimension of this topic is the fact that in English language adjectives are usually placed before the nouns while in Albanian language they go after the nouns. It is also worth mentioning that English language has different types of adjective from Albanian language. Similar issues will be added to this paper to fulfill this paper and to enlighten the difficulties in this discourse and to raise questions such as: Are the adjectives properly translated? Do they carry the same meaning? What are the most frequent adjectives in English that need to be adapted? Do the adjectives in English stay adjectives in Albanian?

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Nuhiu, Remzije. "SOME ISSUES REGARDING THE TRANSLATION OF ADJECTIVES IN LITERARY TEXTS FROM ENGLISH TO ALBANIAN." Knowledge International Journal 28, no. 7 (December 10, 2018): 2259–62. http://dx.doi.org/10.35120/kij29082259r.

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Translation of literary texts has always been a huge challenge for translators. To translate a Shakespearean sonnet seems almost impossible when having in consideration the artistic value as well as textual complexity. Some critics even discuss the percentages as to what is more possible to translate in terms of literary genres. Undoubtedly, poetry is harder to translate from one language to another. Drama is easier to translate as it does not have the lengthy description of images that novels have. Translation of novels is somewhere in the middle. The last one is going to be object of discussion in this paper. However, having in mind that a wider research on translation of novels may take a lengthy work, this paper will limit its discussion on the translation of adjectives only. This work will be based on the novel The Great Gatsby by Francis Scott Fitzgerald and its translation in Albanian Getsbi i Madh by Stavri Pone. Starting from the point that English language is far richer than Albanian language in terms of vocabulary, one can predict that this issue may be quite interesting to discuss. Another dimension of this topic is the fact that in English language adjectives are usually placed before the nouns while in Albanian language they go after the nouns. It is also worth mentioning that English language has different types of adjective from Albanian language. Similar issues will be added to this paper to fulfill this paper and to enlighten the difficulties in this discourse and to raise questions such as: Are the adjectives properly translated? Do they carry the same meaning? What are the most frequent adjectives in English that need to be adapted? Do the adjectives in English stay adjectives in Albanian?

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Journal articles on the topic 'Scott Fitzgerald Great Gatsby'

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