Back West: Time and Place in The Great Gatsby

In the 1920s, American society had been already filled with romantic wonder and riches. However, the Materialism that resulted from rapid industrialization ruined universal hopes and ideal values of the American society including American Dream and American Traditional Innocence and so on.
 The aim of this thesis is to look into and examine the characters’ social backgrounds in Fitzgerald’s The Great Gatsby with regard to psychoanalytical perspectives, which help us to understand whether the atmosphere of American society was matched or not in the 1920s. Thus, as one way to closely approach these issues, we analyze the states of mind within the characters focused on Freudian and Jungian notion of psychoanalysis theories.
 According to Freud’s psychoanalytic theory. there are three steps(=Id-Ego-Super Ego) that play parts in moral judgment and control within the states of human mind. Therefore, when psychoanalytic theory applies to the characters in The Great Gatsby, we can distinguish them as three groups; Firstly, the main character, Gatsby, who didn’t realize ideal values of American society in the 1920s represents the Ego world. Secondly, an observant bastard Tom and his wife Daisy, Myrtle, and Jordan are in the Id state.
 In fact, we are willing to say that Fitzgerald’s The Great Gatsby is his autobiographical work to apprise the corruption of American society at that time he lived. Hence, the reason why Freud’s theory was applied to the characters in The Great Gatsby is to help not only understand many persons’ psychology from the characters of Fitzgerald’s work on American society in the 1920s but also heal those who live in the modern society through the psychoanalytical approach.

Gatsby:<i>The Cultural History of the Great American Novel</i><i>Beyond</i>Gatsby:<i>How Fitzgerald, Hemingway, and Writers of the 1920s Shaped American Culture</i><i>So We Read On: How</i>The Great Gatsby<i>Came to Be and Why It Endures</i>

Gatsby: <i>The Cultural History of the Great American Novel</i> <i>Beyond</i> Gatsby: <i>How Fitzgerald, Hemingway, and Writers of the 1920s Shaped American Culture</i> <i>So We Read On: How</i> The Great Gatsby <i>Came to Be and Why It Endures</i>

The Challenges of Retranslating <i>The Great Gatsby</i> into Hungarian With a Focus on Metaphors of Emotion and Embodiment

The material as the life’s necessities of human changes into prestige of the human himself. Material is no longer interpreted as the life’s necessities but it changes into money. It becomes the symbol of success and happiness. This shift process certainly brings a lot of change to the human nature. Material which at the beginning is considered as the life necessities turns into human obsession to reach the happiness. In the literary criticism, materialism is one of approach to analyze the values in the literary works. Its used by Fitzgerald to view the complexity of the story in the ‘Great Gatsby’ Novel, but unfortunately the fact, its ironic because material satisfaction is only empty happiness as reflected in this paper.

Our sensory system is constantly bombarded with inputs, but owing to the brain’s finite processing power, we are forced to pay attention to only a tiny proportion of these inputs at any given time. In a new study, Richard Davidson and colleagues report that intensive training in meditation can alter the way in which the brain allocates attentional resources to important stimuli, allowing people to improve their performance on a demanding visual task. In the “attentional blink” task, volunteers were asked to identify two “target” stimuli—for example, two particular numbers—in a stream of rapidly presented “non-target” stimuli—for example, letters—which are irrelevant to the task. When the first target number appears on the screen, it captures the attention of the subject, and this can prevent the person from spotting the second target if it appears within around half a second of the first (the attentional blink). It is as if the brain is so busy processing the first target that it can’t also process the second, and therefore the second target goes unnoticed. However, the attentional blink does not represent a structural processing bottleneck. Most subjects are able to spot the second target on at least a small proportion of trials. Since this task gauges the ability of subjects to allocate cognitive resources efficiently when multiple stimuli compete for attention, it is perfectly suited for investigations of the effects of mental training on attention. Previous studies had reported that the act of meditation can alter cognitive and perceptual abilities and neural responses. However, Davidson and colleagues wondered whether volunteers who received three months of intensive training in a particular type of meditation, known as Vipassana meditation, would allocate attentional resources more efficiently and therefore show enhanced performance on the attentional blink task, a task that taps into similar skills used during training without directly involving meditation. Vipassana meditation encourages “non-reactive awareness”—a state of mind in which individuals cultivate awareness of stimuli without judgments or affective responses to those stimuli. Since Vipassana meditation allegedly reduces mental distraction, the authors hypothesized that volunteers (“practitioners”) who attended the intensive training course, which involved 10–12 hours of meditation each day, would be more successful at identifying the second target, because the subjects’ attention would be captured less by the first target. Performance on the task before training was compared with performance after training, and also with that of a control group (“novices”) who were interested in meditation but received only one hour of training, and meditated for 20 minutes each day for the week that preceded each experimental session. After the three-month training period, each member of the practitioner group showed improved detection of the second target, if it appeared within half a second after the first target. Only 16 out of 23 of the novice group showed a similar improvement. This reduction in the effect of the attentional blink is consistent with the idea that after training, practitioners were allocating a smaller proportion of their brains’ resources to the first target. Another way of measuring the allocation of attention is to use event-related potentials—electrical changes associated with neural responses to sensory stimuli or cognitive tasks, which can be recorded through the scalp. When event-related potentials are recorded from subjects during the attentional blink task, a noticeable electrical change—called the P3b—is associated with the appearance of the first target. This event is believed to reflect the allocation of resources to the target. In the practitioner group, after three months of intensive mental training, the P3b that was associated with the first target was significantly smaller for those trials in which the subject was able to identify both targets. In other words, the event-related potentials appeared to show that less attention was being allocated to the first target, and this allowed the subjects to spot the second target. To investigate further the possible link between attentional resource allocation, as reflected by the size of the P3b potential, and performance on the attentional blink task, the authors compared individual performance on the task with the event-related potentials recorded from each subject. Subjects who showed the largest decrease over time in the size of the P3b evoked by the first target also generally showed the greatest improvement in detection of the second target. This result further corroborates the view that the attentional blink is caused by excessive allocation of attentional resources to the processing of target 1. Importantly, the subjects did not meditate during the attentional blink task. So these results indicate that intensive mental training can produce lasting and significant improvements in the efficient distribution of attentional resources among competing stimuli, even when individuals are not actively using the techniques they have learned.

was a phenomenon of the silent cinema and, according to exhibitors, he was the most popular male star of 1928 and 1929 (Studlar 202). He was born in 1883 and began a theatrical career in his late teens, working with touring vaudeville acts for about ten years before moving into film. During 1912 and 1913, his first film work was in uncredited bit parts for various studios but he then worked under contract to Universal until around 1917, after which Chaney again worked for various studios and made a name for himself in strong supporting roles, such as in The Scarlet Car (1917) and Riddle Gawne (1918). His break came in 1919, when he played "The Frog" in The Miracle Man, the same year that he also made The Wicked Darling for Universal, which was his first feature-length collaboration with director Tod Browning, with whom he would work ten times over the following decade, particularly during the period 1925-1930, when Chaney was working exclusively for M-G-M. By the time he signed his contract with M-G-M, Chaney was already a huge star, who was known for his mastery of make-up and disguise, a skill that he used to great effect throughout the 1920s, and earned him the name of "The Man With a Thousand Faces". When sound was being introduced during the late 1920s, Chaney initially resisted the transition and, by the time that he made his first sound film, a remake of his 1925 film The Unholy Three, he had been diagnosed with cancer, and passed away one month after the film's release. Following his death, the industry was eager to find a replacement and the horror stars that emerged after 1930 were usually judged in relation to him. For example, in 1933 alone, it was suggested that Lon Chaney's 'historical mantle … has apparently descended on Mr Karloff's shoulders" (Mannock 30), while Claude Rains was declared to be 'the new Lon Chaney' (Anon, "New" 5). However, although Chaney is acknowledged to be a key figure in the history of horror in particular, and of cinema more generally, it is still the case that, as 2 2 Gaylyn Studlar observed over twenty-five years ago, beyond The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925), "the numerous other films from his seventeenyear movie career are almost totally neglected by contemporary scholars." (204; for notable exceptions see Skal and Worland) 1 Studlar's study of him is therefore an important intervention and it brilliantly explores the "failed and freakish" masculinities that he performed (210), masculinities that drew upon the traditions of the Freak Show. However, she is too quick to read him as different from other male stars such as John Barrymore and Rudolph Valentino and this is due to an understandable, but none the less misleading, focus on the body. As she puts it, "Chaney's variations of the grotesque male body create a radical contrast with the male body foregrounded for the audience's spectacular consumption of Barrymore, Valentino, and, albeit in less explicitly sexual ways, of Fairbanks." (201) For example, the focus on the body distracts from that which unites Chaney with Valentino, their narratives of sacrifice. As Studlar notes, Valentino may have been intoxicatingly beautiful but his ethnicity also made his desirability problematic. He was associated with the figures of the "tango pirate" or the "lounge lizard," figures who operated as folk devils in the 1920s, which witnessed intense campaigns by a nativist "white America" to assert racial hierarchies and halt immigration from Southern Europe, China and Japan (Gerstle). The tango pirates and lounge lizards were ethnic males who entertained "white" women in tea dances and night clubs and were identified by campaigners as a "danger to America's biological future": "the nation's dancing, pleasure-mad women were leading the country into 'race-suicide.'" (Studlar 163) Consequently, Valentino's sexuality was not only associated with pleasure but also with danger, and his most successful film, The Four Horseman of the Apocalypse (1921) required that he "be redeemed through suffering and the realization of true love" (Studlar 3 3 170). If his love is initially illicit, he proves his worthiness in the end when he "dies on a muddy battlefield" during the First World War and then makes "a ghostly return to encourage Marguerite [his lover] to fulfil her duty to her now blind husband." (Studlar 170) As we will see, Chaney's films revolve around similar narratives of sacrifice: his films are usually love stories, in which he initially seems to be an inappropriate suitor for the woman that he desires; but eventually proves his worthiness through sacrifice at the end. 2 Certainly, this love is sometimes presented as a paternal affection, as Studlar notes, but many films explicitly concern romantic love, and even sexual desire. The focus on Chaney's physicality is therefore misleading, given that it accepts that which the films often worked to challenge. Elsewhere, Studlar challenges "the popular assumption that he was a star of horror movies" and she lists an alternative set of terms through which his films were understood in the period (Studlar 205). On the one hand, as Jancovich and Brown have shown, these terms were often explicitly associated with "horror" at the time (Jancovich and Brown); and, on the other, Chaney's association with horror was so strong that his presence shaped the ways in which his films were read. As one article put it: "In each and every picture, the unmistakable menace of Chaney will be there -the nightmare shocks -the lurking, nameless terror that grips the heart, and makes each separate hair to stand on end" (Ussher, "Menace" 30). Furthermore, Jancovich and Brown also stress that, in the 1920s, horror was associated with another term, mystery, and that horror and mystery were understood in ways that was quite different from contemporary uses of these terms (Jancovich and Brown). Horror and mystery concerned investigations into the strange, eerie and uncanny, in which

This article carries out comparative literary research of the short story "The Lady with the Dog" by the Russian writer Anton Chekhov and the novel &amp;ldquo;The Great Gatsby&amp;rdquo; by the American writer F. Scott Fitzgerald for determining the possible mutual influence between these two authors and their works. For achieving the set goal, the article reveals the most significant similar incidents and differences in relation to the aspects of love, ego, and trauma that were selected for the analysis. The comparison relies on the Freudian view of love and trauma in order to analyze the psychological struggle after the loss of love experienced by the protagonists of the aforementioned literary works &amp;ndash; Gurov and Gatsby. The scientific novelty consists in comprehensive comparison of the theme of love between the authors and their protagonists, as well as with the protagonists themselves. Unlike other existing scientific works, this publication compares the psychological aspects of not only love, but the trauma and ego of Gurov and Gatsby as well, revealing the similarities and differences between the aspects of love, ego and trauma alongside their perception by the protagonists. Both main characters fall in love with the women who are married to other men. Thus, they both have experienced a traumatic situation they could not cope with. The research sheds light on the similarities between Chekhov and Gatsby and their narrators in both case studies. The acquired results can be applied in practice of literary psychoanalytic criticism, as well as in practice of comparative research.

This article is devoted to introduce a literary comparative study between two literary works written by the Russian novelist Anton Chekhov’s short story "The Lady with the Dog" and his American counterpart F. Scott Fitzgerald’s novel "The Great Gatsby". The goal lies in revealing the possibility of an existed influence between the two authors. Also, it reveals the similarities and differences of the aspects of love, ego, and trauma. Multiple articles dealt separately with the theme of love in both case studies, thus; the novelty lies in comprehensive comparative of the theme of love between the original authors and their protagonists, as well as with the protagonists themselves. Another novelty is presented in comparing other psychological aspects of trauma and ego of Gurov and Gatsby. The research employs the historical, analytical, comparative, and psychoanalytical methods. The author, specifically, bases his comparison on the Freudian view of love and trauma to analyse the psychological struggle after the love loss experienced by both protagonists; Gurov and Gatsby. Both of them fall in love with women they cannot be with because they are both married to other men, so they both experienced traumatic situation that the protagonists could not get over it. The acquired results can be used both in the practice of literary psychoanalytical criticism, and practice in the filed of comparative studies.

So we beat on, boats against current, borne back ceaselessly into that past.1Londoners remain in business of rowing their boats gently down stream.2In last two decades there has been an abundance of studies, especially in fields of political science and sociology, on current redefinitions of citizenship, belonging, sovereignty, and nation-state.3 As various critics note, there is dominant belief, despite voices to contrary, that role of liberal nation-state is increasingly diminished, on one hand, by forces of globalization which contribute to shift in power from national to supranational, and, on other, by increasing pluralization of society owing to intensified migration flows.4 These factors are regarded as crucial in originating 'crisis of national identity' and rise of conservative turn in definitions of national belonging, which is often expressed in what Gerard Delanty, in context of 1990s Europe, identifies as new nationalism that feeds off social insecurity.5 In American context, this sense of social insecurity characterized aftermath of terrorist attacks on 11 September 2001, which in turn promoted conservative shift in definitions of communal belonging, and made issues of national identity one of central themes not only of political and sociological studies6 but also of post-9/11 fiction.7 In this context, Joseph O'Neill's novel Netherland (2008) offers timely reflection on identity and communal belonging which provides an alternative to conservative tone of post-9/11 American political discourse. This conservative political discourse was not new, however; it echoed tiie ethnocultural americanism of socio-political context of 1920s and 1930s America. O'Neill's Netherland points to connection between these two time periods in his re-accentuation of F. Scott Fitzgerald's The Great Gatsby (1925), classic novel that recent literary criticism has analysed in context of ethnocultural americanism that figures in setting of Fitzgerald's fictional text.The Great Gatsby is swan song of American dream. Narrated as first-person recollection by Nick Carraway, an observer of rise and fall of archetypal self-made man, Jay Gatsby, novel is generally regarded as a dramatization of betrayal of naive American dream in corrupt society,8 or, more generally, as the unending quest of romantic dream, which is betrayed in fact and yet redeemed in men's minds.9 However, literary criticism produced in last fifteen years has highlighted evidence of ethnocultural americanism10 in this narrative, particularly as represented by Tom Buchanan and in veiled suggestion of Gatsby's Jewish origins and associations.11 The nativism underlying novel, which goes against tradi- tionally liberal democratic values of 'American is understood as literary representation of fears experienced in some privileged conservative sectors of American society in 1920s, where it was felt that crucial economic and social changes of those years posed menace to their sense of identity.12 In his study of limits of liberal citizenship as reflected in legislation passed at end of nineteenth century, Rogers M. Smith claims that in times of great economic and social change, most influential segments of American populace [do not feel that they can] meet their longthat ings for secure sense of civic identity and for protection of existing social order by uniting around 'American Creed', and, consequently, they tend to adopt non-liberal ideals in defence of their privileges, which they, in turn, incorporate into their discourse of American national identity.13Smith's explanation for origins of this conservative tum in constructs of national identity and, consequently, of national belonging in form of formal citizenship, generally defined as membership in nation-state as regulated by laws and policies,14 also accounts for new conservative turn that is manifest in some current cultural analyses of American national identity. …

This article utilizes a reflexive ethnographic approach in the form of a “layered text” consisting of academic argument, literary criticism, biography, autobiography, and fiction. The dimension of academic argument involves “critical applied linguistics”; the dimension of literary criticism, Fitzgerald’s The Great Gatsby, Algren’s The Man with the Golden Arm, Blake’s “The Tyger,” and Hemingway’s “A Clean, Well-Lighted Place”; the dimension of biography, the African American activist Malcolm X; autobiography, an account of my elderly father’s visit with me in my city of residence (Oaxaca); and fiction, the story of me in an urban classroom teaching a group of students that includes Malcolm X as well as the authors of and characters from The Great Gatsby and The Man with the Golden Arm. This diverse “layered text” intends to perform its theme involving the “critical”-minded teacher in an English as a foreign language (EFL) classroom as one who regulates her/his personal “political” awareness in order to foster a “critical” classroom accessible to all students.

Exile and the City F. Scott Fitzgerald's “The Lost Decade”

The purpose of this study was to describe the reflection of feminism and the factors causing the rebellion emergence on female characters in this novel The Great Gatsby written by Francis Scott Key Fitzgerald. The research method used was descriptive method with the qualitative research form. The approach used was a feminist literary criticism approach. The technique used was documentary study. The data source was a novel The Great Gatsby (1925) using his background in New York. The problem of this research was how the feminism reflection was emphasized on the figure of women like Daisy, Jordan and Myrtle, who were female figures in the novel The Great Gatsby, especially their behavior towards men. The results showed another side of women's lives, a phenomenon that rarely occured when a woman's determination and determination tried to get out of a life that was not taking its side. The position of women implied the perception of society that the position of women, especially with regard to work was still underestimated

The Japanese novel, Kokoro (1914), offers a profound insight into early 20th-century Japanese society encompassing history, politics, and literature. Although this novel has been extensively explored in literary and translation studies, the convergence remains underexplored. This study advocates integrating literary criticism with translation practice for a more faithful representation of narratives. Applying trauma/PTSD studies theory, it meticulously analyzes Kokoro, particularly examining the English and Chinese renditions of the pivotal term “談判 (danpan; negotiation)”. The methodology involves constructing a trilingual database, incorporating the Japanese source text and seven translations in English and Chinese. By scrutinizing specific passages, the study delves into trauma-related responses and behaviors, revealing their impact on long-lasting changes in personality and relationships. Emphasis is placed on the translation of key terms, preserving cultural and linguistic nuances. This innovative approach advances both literary criticism and translation theory, emphasizing psychological elements for a nuanced portrayal of characters’ states of mind. The study underscores the significance of trauma narratives in comprehending personal and historical traumas, asserting that translators of trauma literature must blend theoretical knowledge with social responsibility. They serve as “secondary witnesses,” entrusted with accurately transmitting traumatic stories between languages, fostering empathy, and preventing the repetition of tragedies in history. This approach provides an innovative interpretation of Kokoro and its translations, bridging the realms of literary criticism and translation studies.

Edith Wharton and Genre: Beyond Fiction