Trimalchio in West Egg: The Great Gatsby Onstage

Prospects ◽  
1980 ◽  
Vol 5 ◽  
pp. 489-506
Author(s):  
Robert E. Morsberger
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Mark Twain ◽  
Fictional Characters ◽  
The Novel ◽  
Going Public ◽  
Uncle Tom's Cabin ◽  
Great Gatsby ◽  
The Great Gatsby

In the Nineteenth Century, it was common practice for popular novels to be adapted to the theater. In the absence of any distinguished playwrights in English between Sheridan and Shaw, the novel was the most flourishing middle-class literary entertainment, and the theater-going public found compensation for the dearth of original drama by seeing their favorite fictional characters on stage. Novels by Scott, Thackeray, Dickens, Hawthorne, and Mark Twain were dramatized with varying degrees of success, together with plays from such popular favorites as Uncle Tom's Cabin, Under Two Flags, Ben-Hur, The Prisoner of Zenda, If I Were King, and Mrs. Wiggs of the Cabbage Patch.

Literary Experimentation in Rowland Hill's Village Dialogues: Transcending "Critical Attitudes" in the Face of Societal Ruination

2011 ◽  
Vol 66 (1) ◽  
pp. 1-36
Author(s):  
Adrian J. Wallbank
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
French Revolution ◽  
British Society ◽  
The Novel ◽  
Concerted Effort ◽  
Early Nineteenth Century ◽  
Class Culture ◽  
The Face ◽  
Literary Techniques

Adrian J. Wallbank, "Literary Experimentation in Rowland Hill's Village Dialogues: Transcending 'Critical Attitudes' in the Face of Societal Ruination" (pp. 1–36) In the aftermath of the French "Revolution Controversy," middle-class evangelical writers made a concerted effort to rehabilitate the moral fabric of British society. Hannah More's Cheap Repository Tracts (1795–98) are recognized as pivotal within this program, but in this essay I question whether they were really as influential as has been supposed. I argue that autobiographical evidence from the period demonstrates an increasing skepticism toward overt didacticism, and that despite their significant and undeniable penetration within working-class culture, the Cheap Repository Tracts, if not all "received ideologies," were increasingly being rejected by their readers. This essay examines the important contribution that Rowland Hill's Village Dialogues (1801) made to this arena. Hill, like many of his contemporaries, felt that British society was facing ruination, but he also recognized that overt moralizing and didacticism was no longer palatable or effective. I argue that Hill thus experimented with an array of literary techniques—many of which closely intersect with developments occurring within the novel and sometimes appear to contradict or undermine the avowed seriousness of evangelicalism—that not only attempt to circumvent what Jonathan Rose has described as the "critical attitudes" of early-nineteenth-century readers, but also effectively map the "transitional" nature of the shifting literary and social terrains of the period. In so doing, Hill contributed signally to the evolution of the dialogue form (which is often synonymous with mentoring and didacticism), since his use of conversational mimesis and satire predated the colloquialism of John Wilson's Noctes Ambrosianae (1822–35) and Walter Savage Landor's Imaginary Conversations (1824–29).

Translation and Its Affects

2018 ◽  
Vol 47 (1) ◽  
pp. 203-215
Author(s):  
William A. Cohen
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
French Language ◽  
Cultural Norms ◽  
The Novel ◽  
Language Competence ◽  
Vanity Fair ◽  
Good Morning ◽  
Do So

Vanity Fair (1848) famously opens with a departure. As Becky Sharpe flounces off from Miss Pinkerton's academy, she takes leave of her patron by telling her “in a very unconcerned manner … and with a perfect accent, ‘Mademoiselle, je viens vous faire mes adieux.’” Miss Pinkerton, we learn, “did not understand French, she only directed those who did: but biting her lips and throwing up her venerable and Roman-nosed head … said, ‘Miss Sharp, I wish you a good morning’” (7). This performance of befuddlement on the part of a respectable schoolmistress bespeaks a whole collection of Victorian cultural norms about language competence in general and about the French language in particular. Even though the action is set in a period when Becky's speaking “French with purity and a Parisian accent … [was] rather a rare accomplishment” (11), the novel was written for a mid-nineteenth-century audience that could mainly count on middle-class young ladies to have acquired this degree of refinement—or at least to aspire to do so.

Corpus stylistics and colour symbolism in The Great Gatsby and its Thai translations

2022 ◽  
pp. 096394702110481
Author(s):  
Raksangob Wijitsopon
Keyword(s):  
Socioeconomic Inequality ◽  
Symbolic Meaning ◽  
Frequent Patterns ◽  
The Novel ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Colour Word ◽  
Corpus Stylistics ◽  
Occurrence Patterns ◽  
Colour Terms

The present study adopts a corpus stylistic approach to: (1) examine a relationship between textual patterns of colour words in The Great Gatsby and their symbolic interpretations and (2) investigate the ways those patterns are handled in Thai translations. Distribution and co-occurrence patterns were analysed for colour words that are key in the novel: white, grey, yellow and lavender. The density and frequent patterns of each word are argued to foreground an association between the colour word and particular concepts, pointing to symbolic meaning potentials related to the novel’s themes of socioeconomic inequality and destructive wealth. The textual patterns are compared with what occurs in three Thai translations of the novel. While most of the colour images are directly translated, non-equivalents tend to be applied to figurative uses of the colour terms. This results in some changes in textual patterns of the colour words in the translated texts, which can in turn affect readers’ interpretations of colour symbolism in the novel.

Jane Eyre: Now and Forever; or, the Strange Afterlife of Gothic

2004 ◽  
Author(s):  
Emily Allen ◽  
Dino Franco Felluga
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Jane Eyre ◽  
The Novel ◽  
Broadway Musical ◽  
Opera Seria

Abstract This paper examines the recent fascination the Broadway musical has had with Victorian gothic, focusing both on the transition from opera seria to Disneyesque musical and on one specific cultural product, Paul Gordon and John Caird’s 2000 Broadway production, Jane Eyre: The Musical.  The paper claims that this particular hybrid of two notoriously hybrid nineteenth-century forms (the novel and opera) defangs both of its source genres, but nevertheless still allows its middle-class audience to participate in the spectacle of their own self-definition as consumers of “culture.”  The production also allows that audience to congratulate itself for having escaped the bourgeois repressions that arguably made the gothic such a viable genre in the Romantic and Victorian periods.  The fact is, though, that contemporary viewers of the Broadway gothic musical do still experience the frisson of a repressed terror: the return to a postmodern world that scripts our camp appreciation of such kitsch entertainments.

scholarly journals ASPEKTUALITAS DALAM NOVEL THE GREAT GATSBY OLEH F. SCOTT FITZGERALD

2019 ◽  
Vol 4 (1) ◽  
pp. 19
Author(s):  
Eka Susylowati
Keyword(s):  
Past Participle ◽  
The Novel ◽  
Perfective Aspect ◽  
Progressive Aspect ◽  
Great Gatsby ◽  
The Great Gatsby

<p><em>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.</em></p>

scholarly journals THE PORTRAYAL OF WOMEN IN THE GREAT GATSBY BY F. SCOTT FITZGERALD AND IT’S RELATIONSHIP TO INDONESIAN WOMEN ON EDUCATION

2019 ◽  
Vol 2 (4) ◽  
pp. 48-67
Author(s):  
Himawan Agung Rida Pambudi ◽  
Barnabas Sembiring ◽  
Indah Damayanti
Keyword(s):  
Women Characters ◽  
The Novel ◽  
American Women ◽  
Know How ◽  
Great Gatsby ◽  
The Great Gatsby

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.

scholarly journals An Analytical Study of 2013 Cinematic Adaptation of The Great Gatsby

2016 ◽  
Vol 68 ◽  
pp. 73-85
Author(s):  
Alireza Anushirvani ◽  
Ehsan Alinezhadi
Keyword(s):  
Comparative Literature ◽  
Analytical Study ◽  
Interdisciplinary Studies ◽  
Adaptation Process ◽  
The Novel ◽  
Adaptation Studies ◽  
Cinematic Adaptation ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Gains And Losses

Comparative Literature is categorized among interdisciplinary studies and tries to bridge a gap between different and separated spheres of human studies. Adaptation studies is a subdivision of Comparative Literature that makes a bond between Literature and Cinema. Both Literature and Cinema are two different mediums or different means of expression. Each has its own language to convey meaning. While novel uses words, cinema uses visual and aural images to convey meaning. Linda Hutchean is a famous adaptation theorist and her theories are used by many critics. She categorizes four different parts for her theory. What? Who and Why? How? When and Where? Through these four main parts, she scrutinizes adaptation process. What, refers to the form, changes, gains and losses, using different tools to convey meaning. Who, refers to the adapter. She poses this question that in adaptation process who is the real adapter? Director, composer, screenplay writer or editor? Why, refers to the motivation of the adapter. She tries to find out different motivation of an adapter to adapt a work. When and Where, refers to the time and place of the adaptation process and its influence both during creation and reception process. In this thesis all of these four main parts of Hutcheon’s theory are scrutinized over 2013 adaptation ofThe Great Gatsbyby Buz Luhrmann. Similarities and differences between a novel and film are illuminated through this research. By determining differences between a film and a novel, hidden and unhidden aspects of the novel will be illuminated and this is a pleasure that a comparatist seeks.

scholarly journals The Ideological Reflection in F. Scott Fitzgerald's Novel, The Great Gatsby, (Post-Colonial Literature)

ATAVISME ◽  
2018 ◽  
Vol 21 (1) ◽  
pp. 121-132
Author(s):  
Sulistyaningsih Sulistyaningsih ◽  
Dina Merris Maya Sari
Keyword(s):  
Data Collection ◽  
Social Status ◽  
Analytical Approach ◽  
The Novel ◽  
Colonial Literature ◽  
Post Colonial ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Post Colonialism

 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.

scholarly journals Comparative Investigation of English and Armenian Compound Patterns

2021 ◽  
Vol 1 (1) ◽  
pp. 155-165
Author(s):  
Sirarpi Karapetyan
Keyword(s):  
World Literature ◽  
Comparative Investigation ◽  
Point Of View ◽  
Semantic Features ◽  
The Novel ◽  
Compound Words ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Syntactic Relations ◽  
Linking Element

The novel “The Great Gatsby” by F. Scott Fitzgerald published in 1925 is one of the timeless classics of world literature which was investigated from different linguistic perspectives. Its vocabulary is abundant in compound words with a variety of morphological, syntactic, semantic peculiarities. In this paper, we aim at studying compound words in “The Great Gatsby” to illustrate their patterns in English and Armenian. We have investigated the compounds from the morphological-categorial point of view, from the perspective of the syntactic relations between their constituent parts. We have also briefly touched upon some of their semantic features. At the same time, a close attention was paid to the different ways in which compound patterns were translated into Armenian. The study of the main target of the paper is based on Sona Seferyan's translation of the novel “The Great Gatsby” into Armenian. A lot of examples of both synthetic (closed) and analytical (juxtaposed) compounds have been picked out. In Armenian within synthetic compounds we differentiate between those with a linking element, e. g. “աշխարհամարտ” (where “ա” is the linking element) and the ones without а linking element, e. g. “արևելք”. We assume that the peculiarities of compounds revealed in this paper will have significance not only for the description of their characteristic features but also for the general typological characterization of the languages under study.

Sign in / Sign up

Export Citation Format

Share Document