The Symbolic Significance in Fitzgerald’s The Great Gatsby
DOI:
https://doi.org/10.54097/bagc4s94Keywords:
Symbolic Significance, The Great Gatsby, FitzgeraldAbstract
Francis Scott Key Fitzgerald, a distinguished Poet Laureate in the history of American literature, is known for his poetry and insightful portrayal of the Jazz Age and his work The Great Gatsby is the pinnacle of his literary achievement and one of the most influential novels in 20th-century American literature. In this novel, Fitzgerald, with his unique literary talent, presents the protagonist Jay Gatsby’s obsessive pursuit of wealth, love, and the American dream, as well as the tragedy of the eventual dashing of these dreams, through a well-constructed narrative framework and rich symbolism. The image of Gatsby is a complex symbol, representing the glitz and illusion of American society in the 1920s. Through an in-depth exploration of the symbolism of colors, situations, and characters, we are enabled to immerse ourselves in the symbolic aesthetics of The Great Gatsby with heightened acuity, thereby resonating deeply with the allegorical melancholy that pervades the protagonist’s thwarted aspirations. The Great Gatsby transcends the narrative of personal misfortune to expose the epochal tragedy that underpins it. As such, the novel has emerged as an enduring discourse on the themes of aspiration, romance, and the harsh realities of life. Its literary merit and symbolic significance continue to be the subject of extensive deliberation and scholarly inquiry.
Downloads
References
[1] Amm M: Might and magic, lust and language – the eye as a metaphor in literature, Documenta Ophthalmologica, Vol. 101 (2000) No.3, p.223-232.
[2] Barakati P, Bertini F, Corsi E, Gabbrielli M and Montesi D: Luxury Car Data Analysis: A Literature Review, Data, Vol. 9 (2024) No.4, p.48.
[3] Gopal C. Bhar: In Search of Happiness - Intellect or Spirituality?, Indian Science Cruiser, Vol. 35 (2021) No.6, p.31-42.
[4] Belk R: 14 Culture and Materialism, Handbook of Culture and Consumer Behavior, Vol. 14 (2015) p.299-323.
[5] Burris V: The Myth of Old Money Liberalism: The Politics of the Forbes 400 Richest Americans, Social Problems, Vol. 47 (2000) No.3, p.360-378.
[6] Cabigiosu A: An Overview of the Luxury Fashion Industry, Digitalization in the Luxury Fashion Industry, (2020) p.9-31.
[7] Cherniavska AV: Semantics of Phraseologically Objectivized Floronyms in the English Language, Науковий вісник Міжнародного гуманітарного університету. Сер.: Філологія, Vol. 48 (2021) No.2, p.87-92.
[8] Ceserani R: La nebbia: luoghi reali e metaforici, Revue Romane, Vol. 42 (2007) No.2, p.188-219.
[9] Andrei C, Daniel PG: The material and the spiritual wealth, Technium Social Sciences Journal, Vol. 45 (2023) p.414-421.
[10] Chang, Yaoxin: A Survey of American Literature (The 3rd Edition) (Nankai University Press, Tianjin 2008).
[11] Marija Č. Đurđević: The rise and fall of the American dream: From Franklin to Facebook, Reči (Beograd), Vol. 12 (2021) No.14, p.148-159.
[12] Elmore AE: Color and Cosmos in The Great Gatsby, The Sewanee Review, Vol. 78 (1970) No.3, p.427-443.
[13] Francis S. Fitzgerald: The Great Gatsby (Foreign Language Teaching and Research Press, Beijing 2017).
[14] Ferguson G: Signs & symbols in Christian art (Oxford University Press, New York 1954).
[15] John T. Flanagan: Virgin Land: The American West as Symbol and Myth, American Literature, Vol. 22 (1951) No.4, p.534-536.
[16] Floyd J: Mary Lawlor, Recalling the Wild: Naturalism and the Closing of the American West, Journal of American Studies, Vol. 36 (2002) No.3, p.513-570.
[17] Jean C. Griffith: “Lita is--jazz”: the Harlem renaissance, cabaret culture, and racial amalgamation in Edith Wharton’s Twilight Sleep, Studies in the Novel, Vol. 38 (2006) No.1, p.74-94.
[18] Maria S. Gorbuleva: THE GOOD, BAD GREEN COLOUR, Praxema, Vol. 166 (2023) No.1, p.140-162.
[19] Mariwan M. Hasan: A Thematic Investigation into T. S. Eliot’s “The Hollow Men:” With Reference to Textual Approach, Critical Literary Studies, Vol. 1 (2019) No.2, p.159-184.
[20] Laura A. King, Christie K. Napa: What makes a life good?, Journal of Personality and Social Psychology, Vol. 75 (1998) No.1, p.156-165.
[21] António S. Leite: The house as a mirror and support of identity: Reflections for a more conscious and subjective inhabiting, Intelligence, Creativity and Fantasy, (2019) p.161-165.
[22] Ali K. Nejad: THE CONFLICT OF EAST & WEST IN IQBAL’S POETRY, Taṣdīq, Vol. 4 (2022) No.1, p.23-35.
[23] O’Cass A, Frost H: Status brands: examining the efects of non-product-related brand associations on status and conspicuous consumption, Journal of Product & Brand Management, Vol. 11 (2002) No.2, p.67–88.
[24] Catherine C. Rhorer: Red and White in Ovid‘s Metamorphoses: The Mulberry Tree in the Tale of Pyramus and Thisbe, Ramus, Vol. 9 (1980) No.2, p.79-88.
[25] David R. Shumway: Gatsby, the jazz age, and luhrmann land, Journal of the Gilded Age and Progressive Era, Vol. 14 (2015) No.1 p.132-137.
[26] Wijitsopon R: Corpus stylistics and colour symbolism in The Great Gatsby and its Thai translations, Language and Literature, Vol. 31 (2022) No.3 p.267–295.
[27] Wójcik M: “Mówię rzecz, jak jest – kolor biały nie rozwija się przez niuanse”. Wybrane przykłady funkcjonowania symboliki bieli w liryce Cypriana Norwida, ROZPRAWY I KONTEKSTY, Vol. 10 (2020) No.15 p.359-371.
[28] Xu, Cong: An Analysis of Symbolism in The Great Gatsby, Teaching of Forestry Region, (2008) No.8, p.112-115.
[29] Zhang, Haibing: Symbolic meanings of colors in The Great Gatsby, Studies in Literature and Language, Vol. 10 (2015) No.6, p.38–44.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Academic Journal of Management and Social Sciences

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

