...College Writing I The novels My Antonia and The Great Gatsby have characters that I believe have many similarities and differences. Nick Carraway and Jim Burden were raised in entirely different ways and settings and both characters play key roles throughout the plot of each story. Although these two characters do not draw many similarities at first glance, I believe the two can be connected from one story to the other. My first point being that both Nick and Jim are the respective narrators in their stories and even though the novels are completely different the role these two characters play can be interpreted as similar. Both of these characters find themselves in interesting dilemma’s, in which they reveal their true colors. Even though most people would say these two characters are very much different, I believe a significant connection can be made between these two characters because they both end up chasing their own American Dream at some point throughout the stories. Nick Carraway describes himself as a hardworking, tolerant, open minded intellectual. Nick was born and raised in Minnesota and attended Yale University; he served in the military during World War 1. I believe the fact that he served in the military showed his dedication to protecting the country even though he had plans to become something greater. He later moved to New York in 1922 to become more educated on the bond business. While in New York he meets Jay Gatsby who happens to be his neighbor in his neighborhood...
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...of the Great Gatsby In F. Scott Fitzgerald’s “The Great Gatsby”, the hero’s journey begins when he meets his very mysterious neighbor, Jay Gatsby, on the small island of West Egg during a party. As Nick Carraway received an invitation from his unknown neighbor, he became curious and made it his mission to understand who this infamous Gatsby really was. As the Narrator, Nick witnessed the past unfold between his cousin, Daisy, and Jay Gatsby when he purposely invited the two of them for a cup of tea. After Daisy and Jay rekindle their love for each other, they both become oblivious to the fact that Daisy is married, causing Nick to see things through different perspectives. While Nick becomes an active observer, he quickly earned Gatsby’s trust which resulted in understanding the past of his no longer mysterious neighbor. As Daisy’s husband realized his wife’s heart had different intentions, the hero began to say, “Tom was evidently perturbed at Daisy‘s running around alone, for on the following Saturday night he...
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...Garrett Hinson American Literature II 3/15/13 The Sexuality of Nick Carraway The Great Gatsby’s narrator, Nick Carraway, belongs alongside the most sexually-complicated characters in all of literature, and while his character is seemingly-secondary throughout the novel, his crucial role as narrator requires that we form some sort of understanding of his enigmatic sexuality, for it has extremely significant implications for the rest of the plot. It is difficult to dismiss Nick’s often-sensual descriptions of men, his vague encounter with the party guest Mr. McKee, and his strangely-distant relationship with Jordan Baker as irrelevant to Nick’s perspective as narrator; each seems to suggest at least a latent tendency towards homosexuality. If indeed we are to interpret these behaviors as homosexual, then the entire attraction towards Jay Gatsby that Nick builds his story upon becomes more complicated. Nick would not merely being telling the story of a person he found to be beautiful, but a man he found to beautiful. This distinction refocuses the novel’s purpose entirely. Nick Carrway may in fact be in love with Jay Gatsby, and because Nick (as a possibly unreliable narrator) may not be able to admit this to his readers or to himself, it falls to us, the readers, to draw our own conclusions. In his first mention of Gatsby, Nick admits that “If personality is an unbroken series of successful gestures, then there was something gorgeous about him…” (Fitzgerald 2). While this...
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...With The Great Gatsby, Fitzgerald made a conscious departure from the writing process of his previous novels. He started planning it in June 1922,[citation needed] after completing his play The Vegetable and began composing The Great Gatsby in 1923.[2] He ended up discarding most of it as a false start, some of which resurfaced in the story "Absolution".[3] Unlike his previous works, Fitzgerald intended to edit and reshape Gatsby thoroughly, believing that it held the potential to launch him toward literary acclaim. He told his editor Maxwell Perkins that the novel was a "consciously artistic achievement" and a "purely creative work — not trashy imaginings as in my stories but the sustained imagination of a sincere and yet radiant world". He added later, during editing, that he felt "an enormous power in me now, more than I've ever had".[4] Oheka Castle on the Gold Coast of Long Island was a partial inspiration for Gatsby's estate.[5] After the birth of their child, the Fitzgeralds moved to Great Neck, Long Island in October 1922, a setting used as the scene for The Great Gatsby.[6] Fitzgerald's neighbors in Great Neck included such prominent and newly wealthy New Yorkers as writer Ring Lardner, actor Lew Fields and comedian Ed Wynn.[3] These figures were all considered to be 'new money', unlike those who came from Manhasset Neck or Cow Neck Peninsula, places which were home to many of New York's wealthiest established families, and which sat across a bay from Great Neck. This...
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...In F. Scott Fitzgeralds novel The Great Gatsby, and John Greene's novel The Fault in our Stars. They both share many of the same themes throughout the two, all the relevant events that has occurred throughout the novels share the theme of love. Both Fitzgerald and Green touch on the subject how love helps the main characters to accomplish their goals, how love allows characters to proceed with building new relationships, and how the feeling of love can blind the characters which eventually results in their loss of touch with reality. Although love is extremely powerful and has some downfalls, it has the ability to make an impact on the lives for the characters in the Great Gatsby and The Fault in our Stars. Throughout the two novels Fitzgerald and Green thoroughly show how the multiple relationships between the main characters significantly grasp their full potential. As readers we develop the sense of how a certain heavyweight as altered the life of Jay Gatsby, We have known Gatsby as a certain character with a very likeable personality and had a certain aurora that people couldn't help but fall in love with. There has been certain events that has been made clear for the readers so they can fully distinguish their thoughts on how Gatsby has reached his full potential. "A large photograph of an elderly man in yachting costume attracted me, hung on the all over his desk.."That? Thats Mr.Dan Cody, old sport".."He's dead now. He used to be my best friend years ago." (Fitzgerald...
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...In F. Scott Fitzgerald's The Great Gatsby, the novel aggregates up an account of the mid 1920's. It was comprised of rich gatherings, misleading men, the plan to acquire the American dream, and wonderful ladies. The part of ladies in The Great Gatsby seem both free, and neglectful in their sentimental lives. The ladies are defenseless and act along these lines in light of their social class structure. In the novel, the two driving female characters, Daisy, and Jordan, speak to one of a kind parts.. They may seem disparate, be that as it may, cash and the impact of it is an association between them both, without inquiry. Ladies took a jump forward in the public arena amid the 1920's and this novel shows this advancement. In the earlier decade long hair, hourglass figure and exquisite customized outfits had all been the required belonging with a specific end goal to be the perfect ladies in that time period. A ladies must be instructed and reliably acting in an elegant way. Finding a spouse and beginning a family were dependably the main needs before whatever else. This commendable...
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...There are many similarities involving the main characters in the books The Great Gatsby and A Raisin in the Sun. For example, they are similar because their entire lives revolve around money. Also, they define their lives by determining what social class they live in. Another main likeness between the two is that they reside in large cities. Which leads to problems that people in rural communities wouldn’t have. On the other hand, they also have major differences. One is wealthy, the other lives in poverty. Jay Gatsby lives in a paradise-like community in New York, while Walter Younger and his family live in the slums of Chicago. Another difference between them is their race. Jay, being a white, is a well respected individual in his part of town. The Youngers, being African American, have a hard time finding their place in the city of Chicago. Especially when they decide to move to a white association. The final difference is that even though they are in similar situations, and despite their hardships, the Younger family always seems to find a silver lining in whatever they are going through. Gatsby, on the other hand, is always discontent with his life. Jay Gatsby, a bootlegger, was probably introduced to “big money” when he started in the business. Because of that, events that occur during his life, or big decisions that he has to make, is centered around money. In other words, every thought that runs through his mind deals (in some way) with his money, or money that can be...
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...to own their own farm. In The Great Gatsby, Jay Gatsby is hopeful to rekindle the love he once had with Daisy. Yet, Gatsby and the working men to not attain these big dreams. George shoots Lennie and Gatsby is murdered by Myrtle's husband. Gatsby loved Daisy so incredibly much, he was willing to go down for her crime. -Concluding sentence where you re-iterate the connection to the thesis: To conclude, the similarity of the characters unsuccessful dreams in Of Mice and Men and The Great Gatsby, enforces how the books are alike. -Introduction of example #4: A happy end is always a nice way to finish a book. However, Steinbeck nor Fitzgerald felt the need to do so. -Example / Quotation: “It was after we started with Gatsby toward the house that the gardener saw Wilson’s body a little way off in the grass, and the holocaust was complete” (Fitzgerald 133). “The hand shook violently, but his face set and his head steadied. He pulled the trigger. The crash of the shot rolled up the hills and rolled down again” (Steinbeck 106). -Analysis of how the example / quotation proves the argument: In Of Mice and Men and The Great Gatsby and main character is murdered in the final chapters of the novel. In Of Mice and Men, George shoots Lennie because there’s no way he can save him from getting in trouble for killing Curley's wife. -Concluding sentence where you re-iterate the connection to the thesis: To put brief, Of Mice and Men and The Great Gatsby are similar because both authors...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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...Кухаренко В. А. Практикум з стилістики англійської мови: Підручник. — Вінниця: Нова книга, 2000. — 160 с. Кухаренко Валерия Андреевна, д.ф.н., проф., кафедра лексикологии и стилистики английского языка факультетеа РГФ ОНУ им. И. И. Мечникова CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Graphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics...
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...before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? - 81 'Landmarks' in postmodernism: Habermas, Lyotard and Baudrillard - 85 Stop and think - 90 What postmodernist critics do - 91 Postmodernist criticism: an example - 91 Selected reading - 94 5 Psychoanalytic criticism - 96 Introduction - 96 How Freudian interpretation works - 98 Stop and think - 101 Freud and evidence - 102 What Freudian psychoanalytic critics do - 105 Freudian...
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