The Damnation of Bryan Dalyrimpleand Theron Ware: F. Scott Fitzgerald\u27s Debt to Harold Frederic

F. Scott Fitzgerald\u27s debt to the fin de siecle American naturalists is well known. Princetonian Amory Blaine gives the most famous suggestion of the influence in This Side of Paradise when he finds himself rather surprised by his discovery through a critic named Mencken of several excellent American novels: \u27Vandover and the Brute,\u27 \u27The Damnation of Theron Ware,\u27 and \u27Jennie Gerhardt\u27 (209). Henry Dan Piper notes that Fitzgerald wrote this particular passage during the summer of 1919, when he revised his novel for the last time. It is likely that he had heard about all three books very recently ( Norris and Fitzgerald 395). That is not to say, however, that Fitzgerald did not come upon the novels of Norris, Dreiser, and Frederic at an important time in his literary formation. On the contrary, he discovered them just as he was writing - for the third time - This Side of Paradise ( Noah and Fitzgerald 393); and although by then, as Piper suggests, it was too late for them to have much of an influence on the first novel (Portrait 88), they did play an important part in the conceptualization of the second novel, The Beautiful and the Damned. In fact, Fitzgerald\u27s interest in the American naturalists was so intense and influential that it kept him from getting on with his second novel (84)

Measurement of the Lorentz-FitzGerald Body Contraction

A complete foundational discussion of acceleration in context of Special Relativity is presented. Acceleration allows the measurement of a Lorentz-FitzGerald body contraction created. It is argued that in the back scattering of a probing laser beam from a relativistic flying electron cloud mirror generated by an ultra-intense laser pulse, a first measurement of a Lorentz-FitzGerald body contraction is feasible.Comment: 4 pages Letter, submitted to EPJA, dedicated to memory of Walter Greine

Of Love, Of Money, Of Unquestionable Practicality: The Choices of F. Scott Fitzgerald’s Early Heroines

Between 1920-1925, F. Scott Fitzgerald explored the choices of young, affluent women, particularly in regards to marriage. His fascination with this topic began with Rosalind in This Side of Paradise, and her practical yet immature decision. Through his early short stories, Fitzgerald explores different motives behind his heroines’ decisions, varying points-of-view, and the consequences of his heroines’ actions. Fitzgerald’s fascination with these characters culminates in The Great Gatsby with his most complex characters and situations

Analysing video and audio data: existing approaches and new innovations

Across many subject disciplines, video and audio data are recorded in order to document processes, procedures or interactions. These video and audio data are consequently analysed using a number of techniques, in order to try and make sense of what was happening at the time of the recording, sometimes in relation to initial hypotheses or sometimes in terms of a 'post hoc' analysis where a more grounded approach is used. This paper contains an overview of tools and techniques for examining video data and looks at potential new methods borrowed from the field of learning analytics, related to discourse analysis. Discourse analysis, where conversations and the spoken word are explored and dissected in detail, can provide us with information about the learning context and the ways in which learners interact with people and other resources in their environment

Note: Axiomatic Derivation of the Doppler Factor and Related Relativistic Laws

The formula for the relativistic Doppler effect is investigated in the context of two compelling invariance axioms. The axioms are expressed in terms of an abstract operation generalizing the relativistic addition of velocities. We prove the following results. (1) If the standard representation for the operation is not assumed a priori, then each of the two axioms is consistent with both the relativistic Doppler effect formula and the Lorentz-Fitzgerald Contraction. (2) If the standard representation for the operation is assumed, then the two axioms are equivalent to each other and to the relativistic Doppler effect formula. Thus, the axioms are inconsistent with the Lorentz-FitzGerald Contraction in this case. (3) If the Lorentz-FitzGerald Contraction is assumed, then the two axioms are equivalent to each other and to a different mathematical representation for the operation which applies in the case of perpendicular motions. The relativistic Doppler effect is derived up to one positive exponent parameter (replacing the square root). We prove these facts under regularity and other reasonable background conditions.Comment: 12 page

Always Something of It Remains : Sexual Trauma in Ernest Hemingway’s \u3cem\u3eFor Whom the Bell Tolls\u3c/em\u3e

Following his completion of Tender is the Night in 1934, F. Scott Fitzgerald sent a copy of the manuscript to his friend, Ernest Hemingway. Hemingway replied with a long, thoughtful letter detailing the reasons he both “liked it and didn’t like it” (SL 407). He instructed Fitzgerald: “Forget your personal tragedy. We are all bitched from the start and you especially have to be hurt like hell before you can write seriously. But when you get the damned hurt use it—don’t cheat with it” (408). The often-troubled friendship between these two masters of modernism has been the subject of a number of scholarly inquiries, with Fitzgerald often cast as the sensitive/feminine/intellectual to Hemingway’s unaffected/masculine/brute. As I will demonstrate in this article, however, Hemingway possessed a keen ability to represent gradations in traumatic nuance with which he is not often credited. Hemingway did, indeed, “use the hurt” of the Spanish Civil War while he had it, and it resulted in his masterpiece, For Whom the Bell Tolls

“Borne Back Ceaselessly into the Past”: Fitzgerald’s Forgotten Civil War Literature

“So, we beat on, boats against the current, borne back ceaselessly into the past.” These are the brilliant last lines of F. Scott Fitzgerald’s novel, The Great Gatsby, lines that speak to the fallibility of Gatsby’s American Dream and his inescapable, yet simultaneously unreachable, past. The legendary ending sentence in The Great Gatsby has captured me since I first read the book as a freshman in high school and made me want to read every Fitzgerald book I could find. The more I read, the more I realized the unique implications this famous last line had for Fitzgerald’s own life and literary career. Currently, Fitzgerald serves as the visible face of the Roaring 20’s, or the “Jazz Age,” a decade of extravagance known for dancing, drinking, and merry-making. As forward-looking as he may have tried to live his life, though, Fitzgerald found the past inescapable. “The Cruise of the Rolling Junk” is Fitzgerald’s first hint to the public that, despite his best efforts, he could not escape the past, particularly the Civil War, and neither could the Roaring 20’s. [excerpt

The American Catholic: Contraception and Abortion

Dr. FitzGerald looks at the position in which social and environmental pressures, widespread contraception and the new therapeutic range of the prostaglandins have placed the American Catholic

The Male Animal (1984)

Playwrights: James Thurber and Elliott Nugent Director: Hal J. Todd Set Design: Donamarie Reeds Costumes: Elizabeth M. Poindexter and Leslie Fitzgerald Academic Year: 1984-1985https://scholarworks.sjsu.edu/productions_1980s/1051/thumbnail.jp