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Fitzgerald's depiction of society
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Bernice Bobs Her Hair
Have you ever at one time or another felt like an outsider? Many people do, trying desperately to fit in with their social counterparts. Whether it be in school, at work, or life in general, many yearn to be accepted by their peers and feel as though they are a part of some sort of "club" that is viewed by others as the "in" crowd. F. Scott Fitzgerald tries to express this turmoil with the short story Bernice Bobs Her Hair. He attempts to show the inner workings of the popular youth and the means in which one can successfully enter it. By creating the distinct characters of Marjorie, Bernice and Warren, one can see the realistic lives of youth in America and what they do when it comes to achieving and successfully maintaining ones popularity.
In the world of F. Scott Fitzgerald, Marjorie is portrayed as a self assured, popular young woman. This was shown very early in the story, during which a party was taking place. After noticing that Bernice, her dopey cousin, was consuming much of Oswald’s time, she proceeded to Warren to ask if he could take over being Bernice's company and dance with her. Warren submissively said yes, even though he desperately wished to spend time with Marjorie. As he did so, Marjorie was whisked away by a boy to dance, the second or third of the evening. Her status gave her the convenience of asking favors, with the confidence of knowing that they would be carried out without resistance. This confidence also emerged after she told Bernice what a drag people like her are to be with. When Bernice went up stairs later on that day and announced to Marjorie how right she was, Marjorie's immediate response was “I know”(1). This “know it all” attitude arose again when she declared that the reason Madonna did not smile in her world renowned portrait was because her teeth were crooked, even though it is widely assumed and most probable that it was due to that period in time; at that time is was very uncommon to smile for a portrait since it did not look dignified or proper. She also felt confident after noticing that her achievement in bringing Bernice into the popular realm started to surpass her own popularity. As she saw that Bernice was wooing Warren away from her at a picnic gathering, her reaction in the park was “I can get him back” (1).
The world of young adults is a complicated landscape, with cliques and a desire to fit in. This push for conformity stretches not only through behavior, but more noticeably through the apparel worn by youths. At the beginning of the story, the narrator states that she and her friends are in “trouble,” but they “do not know what [they did], and [they are] sure [they] did not mean to do it” (103). This fear of the unknown continues throughout the entirety of the story, and readers can infer that the crime the girls have committed was simply dressing out of the norm for their age. The narrator also mentions that she is “white-skinned, ebony-haired, red-lipped, and ethereal,” far different than the expectation for her being “suntanned, golden-haired, peach-lipped, and earthbound” like her mother had been (103). As time repeats itself, so too do the fashion trends popular among the masses, and the look that the narrator’s mother portrayed was the same as the look her daughter is expected to adhere to. This is not the case, though, and because of her and her band’s choices in clothes, the narrator feels ostracized by not only her peers but her father as well, who “looks at [them] without moving his mouth or turning his head” as they leave the house (104). This reaction, or lack thereof, indicates that the father disapproves of the choices his daughter has made about how she dresses, but feels as though it is not his place to criticize her. The ending line does an excellent job at summarizing the angst felt by most teens as the narrator and her band feel as though “[they] are right to turn [themselves] in” to the pressures exerted by their peers to comply to what is expected of them (104). Just as women’s individuality is torn down by the pressures
Fitzgerald uses his character’s immoral behaviors to show how individuals of the Lost Generation are trying to fill the void that they have after World War I. The character’s loss of morals are a result of their carelessness and
As the student begins his essay, he points out that Sammy is part of the lower class structure. He is an “eighteen-year-old boy who is working as a checkout clerk in an A&P in a small New England town five miles from the beach” (2191). While working an afternoon shift on Thursday, he notices “these girls in nothing but bathing suits” (2191) enter the store. It is in this scene that the student begins to identify the differences between the group of girls and Sammy.
Teens, in particular, have always sought to separate themselves into different social groups. Whether they’re named the nerds and the jocks or the preps and the rebels, one group has always been “in” and one group has always been “out”. It’s just the names and uniforms have changed(Doc A). This has never been more apparent in the novel The Outsiders by S.E. Hinton. Set in the 1960’s in Tulsa, Oklahoma, two groups of teens —the no-good greasers and the rich Socs— are at constant odds with each other. While it may be easy to tell who are the outsiders in the novel at first glance, lines become blurred as the reader gets deeper into the novel. It’s true the Socs and/or the greasers may be the outsiders referred to in the title of the novel, however, the title truly pertains to the individuals who see beyond the divide of the 2 groups aforementioned above.
Protected by a cocoon of naiveté, Holden Caulfield, the principal character in the novel, The Catcher in the Rye, therapeutically relates his lonely 24 hour stay in downtown New York city, experiencing the "phony" adult world while dealing with the death of his innocent younger brother. Through this well-developed teenage character, JD Salinger, uses simple language and dialogue to outline many of the complex underlying problems haunting adolescents. With a unique beginning and ending, and an original look at our new society, The Catcher in the Rye is understood and appreciated on multiple levels of comprehension. The book provides new insights and a fresh view of the world in which adolescents live.
When life becomes overwhelming during adolescence, a child’s first response is to withdraw from the confinement of what is considered socially correct. Individuality then replaces the desire to meet social expectations, and thus the spiral into social non-conformity begins. During the course of Susanna’s high school career, she is different from the other kids. Susanna:
“The Great Gatsby”, by F. Scott Fitzgerald depicts the vast social difference between the old aristocrats, the new self-made rich and the poor. He vividly interprets the social stratification during the roaring twenties as each group has their own problems to deal with. Old Money, who have fortunes dating from the 19th century, have built up powerful and influential social connections, and tend to hide their wealth and superiority behind a veneer of civility. The New Money made their fortunes in the 1920s boom and therefore have no social connections and tend to overcompensate for this lack with lavish displays of wealth. As usual, the No Money gets overlooked by the struggle at the top, leaving them forgotten or ignored. Such is exemplified by Jay Gatsby, Myrtle Wilson and Tom Buchanan. Their ambitions distinctly represent their class in which Fitzgerald implies strongly about.
As the eras changed, American culture did as well. Literary works including The Great Gatsby by F. Scott Fitzgerald and The Scarlett Letter by Nathaniel Hawthorne reveal to us two main characters that were alienated by their societies and not valued for their true worth as individuals. Both main characters in these novels endure an identity crisis which then leads to them becoming their own tragic hero/heroine. Both F. Scott Fitzgerald, author of The Great Gatsby and Nathaniel Hawthorne, author of The Scarlett Letter, depict characters that reinvent themselves to conform to their own ideas of how they should live and how people should perceive them. In both contexts, the main characters are both, in a way, trapped in their lifestyles. Jay Gatsby of The Great Gatsby had spent his whole life dedicating himself to win a beautiful girl (not of the same status) and Hester Prynne of The Scarlett Letter not being able to be herself because her perfect Puritan society didn’t accept the fact that she was an individual. In the end, both characters leave their marks and leave us as readers to decipher our thoughts and opinions on them.
The feature “Bernice Bobs Her Hair” is collected in Fitzgerald’s book Flapper and Philosophy that published in 1920. Flapper, “a ‘new breed’ of young Western women in the 1920s who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered acceptable behavior.”(Wikipedia, par. 1) For readers from different cultural background, their understandings of the story are considerably different. For example, a woman brought up in a conservative culture, she probably believes marriages are “tiresome colorless,” and wishes to be a “beautiful bundle of [cloth]” that has no own mind. (Fitzgerald, 7) In turn, her interpretation of reading is truly subjective and could be misreading. Flappers are symbols of liberation, feminism and the powers of women. By doing what exactly Marjorie says, (praising males, announcing the plan of bobbing her hair, making bold, humorous and fresh remakes), Bernice becomes well liked. In a modern western woman’s eye, “Bernice Bobs Her Hair” illustrated a transformation of a traditional, boring country girl to a modern, flipper, pleasure-seeking woman who liberate herself from the suppression of their male counterparts. “Twenty minutes later….Her hair was not curly, and now it lay in lank lifeless blocks on the both sides of her suddenly
Through these two representations of the upper class in the “roaring twenties” Fitzgerald criticizes the values society has built upon, which is mainly materialism. Fitzgerald purposely creates two distinct classes to present his ideals, and most importantly, to capture the essence of the society we live in. In addition, by exploring this class, the readers can easily understand how the value systems have gone out of balance, and how in general, people’s lives are out of control. The message the readers seem to receive is that even if an individual attempts to advance through the social class ladder, he would “borne back ceaselessly into the past” 8, overstepping the boundaries.
In fact, it could be argued that Fitzgerald created an “...alter ego, Nick Caraway, [and] recalls wistfully the America of his youth” and the chaos of a transition to the eastern way of life through this character (Zeitz). Fitzgerald appeared to have a sense of contempt for the wealthy and it is evident in the way he often described them: “wanderers, confident girls who weave here and there among the stouter and more stable become for a sharp, joyous moment the center of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light” (Fitzgerald 41). Fitzgerald was surrounded by these shallow, vivacious women and, logically, they would fill the background of the extraordinary parties that Scott and Zelda would attend. Besides accurately portraying the personalities of the jazz age, Fitzgerald also artfully recounted the historical aspects that his generation faced. The prohibition had little effect on the characters of the novel, as insinuated with Gatsby’s “drug store business”, just as it had little effect on the wealthy during the 1920’s. More Americans than ever could afford electricity, glassware, jewelry, and trips to the theater or an amusement park (Zeitz). The line between classes became more and more blurred as luxuries became easier to gain.
During the 1920’s women were fervently depicted as inferior to men and incapable of the success. In the novel The Great Gatsby female characters are subject to gender based stereotypes and blindly follow culturally accepted norms which dictate their place and position within society. The expectations placed upon the female characters to comply with the norms of society limit their potential to become successful in comparison to the male characters, who are successful in the 1920’s. Within The Great Gatsby, Fitzgerald illustrates the female characters as socially and economically limited and dependant, due to the strong implementation of patriarchal roles of men in society. Women are confined
The idea of changing social class in the 1920s is a common theme highlighted throughout The Great Gatsby. Through the characters of Gatsby and Myrtle who both fail in their desperate attempt to live out The American Dream, Fitzgerald successfully convinces the reader that The American Dream for most of America at this time was just that of a dream and was not obtainable for many. Fitzgerald explained that The American Dream was a highly unrealistic standard that so many tr...
Unaware to some, The Great Gatsby not only tells a story, but contains great meaning to those who understand it. Published in 1925, Fitzgerald’s novel holds a myriad of topics and themes that depicts what life was like at that time. One such topic included is the class structure 1920s. During the 1920s, there existed invisible borders that separated people based off their socioeconomic class. Each class had particular attributes associated with people living in them as well as reasons why they are in that specific class. In The Great Gatsby, Fitzgerald creates characters with specific attitudes and behaviors that generalize the social stratum they are placed in to convey a message about how the American class structure functions. Through
The movie, “Mona Lisa Smile” is an inspirational film that explores life through feminism, marriage, and education lead by a modernist teacher at the end of a traditional era. It begins by introducing the lead character, Katherine Watson (Julia Roberts), a liberal-minded novice professor from California, who lands a job in the art history department at a snobbish, all-girl college, called Wellesley, in the fall of 1953. Despite warnings from her boyfriend Paul that a Boston Brahmin environment was out of her element, Katherine was thrilled at the prospect of educating some of the brightest young women in the country however, her image of Wellesley quickly fizzles after her first day of class, in which, was more like a baptism by fire. Her smug students flaunted their exhaustive knowledge of the text and humiliated her in front of a supervisor. However, Katherine, determined not to buckle under pressure, departs from the syllabus in order to regain the upper hand. She quickly challenged the girls’ idea of what constituted art and exposed them to modern artist not endorsed by the school board. She dared them to think for themselves, and explore outside of their traditional views. This form of art was unacceptable by the students at first however, overtime Katherine penetrated her student’s distain and earned their esteem.