F. Scott Fitzgerald's Short Fiction

2019 ◽  
Author(s):  
Jade Broughton Adams
Keyword(s):  
Short Stories ◽  
Popular Culture ◽  
Short Fiction ◽  
Performing Arts ◽  
Ernest Hemingway ◽  
Langston Hughes ◽  
Sherwood Anderson ◽  
Literary Aesthetics ◽  
Saturday Evening ◽  
Saturday Evening Post

F. Scott Fitzgerald is remembered primarily as a novelist, but he wrote nearly two hundred short stories for popular magazines such as the widely-read Saturday Evening Post. These stories are vividly infused with the new popular culture of the 1910s, 1920s, and 1930s, from jazz and blues music to motion pictures and performing arts. This book demonstrates how popular culture had a deep impact on Fitzgerald’s work, not just in terms of evoking period detail, but by confirming Fitzgerald as an experimental writer whose popular short stories reflect the serious modernist concerns occupying writers such as Ernest Hemingway, James Joyce, Sherwood Anderson, Dorothy Parker, and Langston Hughes. This book explores how popular culture impacted on F. Scott Fitzgerald’s literary aesthetics on both thematic and formal levels, to a greater extent than previously recognised. Encompassing spheres of both American studies and cultural studies, this book offers a revisionist perspective on Fitzgerald’s short fiction of the interwar period, which is often overlooked in favour of the novels, especially The Great Gatsby. By exploring Fitzgerald’s fascination with leisure, specifically the intertwined cultural spheres of dance, music, theatre, and film, this book argues that he innovatively imported practices borrowed from other popular cultural media into his short stories, deploying disruptive techniques of ambiguity and parody that sit in tension with reader expectations of his lyrical style and the commercial publication contexts of his stories.

Not ‘a Sincere and Yet Radiant World’ but ‘Trashy Imaginings’ – Representations of Popular Culture in Fitzgerald’s Short Fiction

2019 ◽  
pp. 1-29
Author(s):  
Jade Broughton Adams
Keyword(s):  
African American ◽  
Popular Culture ◽  
Cultural Values ◽  
Interwar Period ◽  
Short Story ◽  
Short Fiction ◽  
Literary Modernism ◽  
African American Culture ◽  
Saturday Evening ◽  
Saturday Evening Post

This chapter discusses Fitzgerald’s conflicted relationship with popular culture in the interwar period from 1918 until his death in 1940. Magazines like the Saturday Evening Post were lucrative, and helped Fitzgerald to establish his early flapper ‘brand’, but he was often wary of being identified with these commercial magazines. Fitzgerald carefully uses references to popular culture in order to disrupt our expectations of his lyrical style as well as the established magazine short story conventions of the 1920s and 1930s. By using such experimental techniques whilst also courting a mass audience, Fitzgerald can be seen pursuing literary acclaim as well as financial security: joint aims that he harboured throughout his career. This chapter shows how Fitzgerald uses parody to shed new light on popular cultural forms of the period, as well as to interrogate the concept of leisure in a period in which there was a great upheaval of cultural values. He identifies with black entertainers and African American culture as a means of theorizing his own relationship with the entertainment industry. His use of parody enables him to navigate fluidly between popular and ‘high’ culture, and to undermine commercial magazine formulae, whilst establishing his own brand of literary modernism.

Short fiction writing in English by Chinese university students: An integrated F-A-I-T-H approach

English Today ◽  
2019 ◽  
pp. 1-7
Author(s):  
Gang Sui
Keyword(s):  
Short Stories ◽  
University Students ◽  
Short Fiction ◽  
Ernest Hemingway ◽  
Chinese Students ◽  
Writing Workshops ◽  
Fiction Writing ◽  
Chinese University ◽  
Stylistic Elements ◽  
Chinese University Students

When delivering a speech at a meeting of the Writers’ Congress, Ernest Hemingway said as a fiction writer: A writer's problem does not change. He himself changes, but his problem remains the same. It is always how to write truly and having found what is true, to project it in such a way that it becomes part of the experience of the person who reads it. (1937) Does this statement still ring true today? If it does, what approach should and can be taken for Chinese university students to write ‘truly’ during their fiction writing workshops in English when they know what they try to accomplish is indeed something fictional or self-evidently ‘untrue’? What characterises the main thematic and stylistic elements of Chinese students’ short stories written in English as creative outcomes?

scholarly journals The Camouflage of the Sacred in the Short Fiction of Hemingway

2014 ◽  
Vol 21 (1) ◽  
pp. 61-78
Author(s):  
Ali Zaid
Keyword(s):  
Short Stories ◽  
Short Fiction ◽  
Ernest Hemingway ◽  
Larval Survival ◽  
Inner Life ◽  
Spiritual Meaning ◽  
The World ◽  
Biblical Allusions

Abstract This essay examines the short fiction of Ernest Hemingway in the light of Mircea Eliade’s notion of the camouflage of the sacred and the larval survival of original spiritual meaning. A subterranean love pulsates beneath the terse dialogue of Hemingway’s characters whose inner life we glimpse only obliquely. In the short play (“Today Is Friday”) and four short stories (“The Killers,” “A Clean Well-Lighted Place,” “Old Man at the Bridge,” and “The Light of the World,” discussed here, light imagery, biblical allusions, and the figure of Christ, reveal a hidden imaginary universe. This sacral dimension has been largely overlooked by critics who dwell on the ostensible spiritual absence that characterizes Hemingway’s fiction.

Accounting for play as work in The Expense Account

2018 ◽  
Vol 10 (3) ◽  
pp. 254-264
Author(s):  
Lauren Schrock
Keyword(s):  
Popular Culture ◽  
Qualitative Analysis ◽  
Cultural Value ◽  
Content Type ◽  
Financial Decisions ◽  
Cultural Images ◽  
Saturday Evening ◽  
Saturday Evening Post ◽  
Additional Support ◽  
Norman Rockwell

Purpose This paper aims to examine how and why finance is represented in cultural products. Focussing on an illustration by Norman Rockwell for the cover of The Saturday Evening Post, this analysis suggests that financialization is represented through the technique of visually incongruent humour. Humour relays the cultural value of the separation of work and play, and financialization is a tool to make sense of play as work. Addressing why certain financial representations are produced highlights the influence of finance in determining how and what messages about financialization are made public. This analysis of a single illustration suggests a need for further research into comparative and contextual studies of culture and finance. Design/methodology/approach This paper is a qualitative analysis of The Expense Account (1957), a cover illustration for The Saturday Evening Post. Findings In analysing the visually incongruent humour of the illustration, the cultural value of the separation of work and play is muddied by the lack of supervision and undefined organizational space. Freedom of travel and lack of managerial presence suggest that travelling salesmen face anxiety and uncertainty in having to account for their fun activities as work. Accounting is one tool of financialization used to interpret play as work by employees. This illustration was produced in a for-profit context and was therefore influenced by the financial decisions of magazine editors and customers. Practical implications Interdisciplinary qualitative analysis of finance and humorous popular cultural images suggests that accounting is a financial tool for making sense of play as work outside fixed organizational spaces. Additional support is given for studying popular culture and finance together, as popular culture is produced within a financial system in which financial decisions determine humorous representations of financialization. Originality/value This paper adopts a financial perspective in examining a Norman Rockwell illustration and makes the case for examining how representations of financialization are made by humour and financial influence.

Contemporary art and fashion: from Pop to Populist

1989 ◽  
Vol 14 (4) ◽  
pp. 17-21
Author(s):  
Darlene Tong
Keyword(s):  
Popular Culture ◽  
Contemporary Art ◽  
Performing Arts ◽  
Pop Art ◽  
American Artists

During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

Gwendolyn Bennett's “The Ebony Flute”

PMLA ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 744-755
Author(s):  
Belinda Wheeler
Keyword(s):  
Short Stories ◽  
African American ◽  
Coming Out ◽  
Harlem Renaissance ◽  
Detailed Examination ◽  
Langston Hughes ◽  
Black Artists ◽  
Assistant Editor ◽  
Cover Art ◽  
The Harlem Renaissance

IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.

scholarly journals Animosity towards Women in Eudora Welty's Literary Canon

2021 ◽  
Vol 21 (2) ◽  
Keyword(s):  
Short Stories ◽  
Short Fiction ◽  
Sense Of Self ◽  
Social Consciousness ◽  
Literary Canon ◽  
Women's Identity ◽  
Male Perpetrators ◽  
The Social ◽  
Delta Wedding ◽  
Personal Consciousness

The paper investigates Eudora Welty’s concept of animosity towards women in her fiction. Her novels and short stories portray rape, sexual exhibitionism, sexual threats and brutality as inhuman experiences that sarcastically result in a vicious conversion of indignity and humiliation to the female sufferer instead of the male perpetrators. Welty suggests that this context creates a sense of intolerance which acts as a destroyer of women’s identity and sense of self. In this paper, the researchers attempt to reveal the mechanisms that subvert women’s sense of identity in a world usually controlled by men. Welty’s vision, in this sense, is that the social consciousness of the woman does not only evolve from the personal consciousness, but also intricately interacts with it. Welty’s works that are central to this study include Delta Wedding, The Robber Bridegroom, and the short fiction, including The Whole World Knows and Sir Rabbit.

scholarly journals Investigating the Strategies Used in Translation of Ironies in English Short Stories translated into Persian

2019 ◽  
Vol 2 (4) ◽  
pp. 13-19
Author(s):  
Mana Alahmad
Keyword(s):  
Short Stories ◽  
Second Language ◽  
Ernest Hemingway ◽  
Frequency Count ◽  
Research Strategies ◽  
Language Background ◽  
Translation Strategies ◽  
Total Frequency ◽  
Culture And Language

This study attempted to investigate the strategies which were used by Persian translators in translation of ironies. Translating irony has always been challenging as it relates to each nation culture and language background. So, special strategies are needed to guide the translators to find suitable equivalences for the ironies within any second language. In this research, strategies for translating two types of ironies i.e. verbal and situational were investigated via short stories. Eight short stories of Ernest Hemingway were chosen as the English texts. For each story two Persian versions were selected.Baker (1992) model of translation strategies was considered as the framework. The result of the total frequency count of the strategies adopted in translating the ironies by the translators’indicated that the most common strategies which used by these translators to translate English verbal and situational ironies into Persian were cultural equivalences and general or neutral equivalences for English words and phrases.The findings are of help to translators, translation trainers and readers among all interested parties

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