Analysis Of Consuelo Vanderbilt 's ' The Glitter And The Gold '

Jay Gatsby demonstrates the progression of 1920’s society, from the stagnant class structure of the past to the upwardly mobile class fluidity of the Roaring Twenties. Gatsby, a newly-rich socialite of “Long Island, sprang from a platonic conception of himself. He was a son of God” (Fitzgerald 104). Gatsby’s self-perceived identity as “a son of God” is the manifestation of the optimism for the emerging class mobility in the 1920’s. The idea that a poor man, such as Gatsby, could become wealthy and prominent in society was considered by many to be impossible before the 1920’s; this change was one of the many social norms that were shattered by society’s explosive adoption of the American Dream. The recent success and wealth of the Vanderbilt family was celebrated by 1920’s society as a prime example of the American Dream’s attainability. The article “The Instinct That Makes People Rich” described the Vanderbilt family’s rise to success and stated that “we can follow [the Vanderbilt’s] general methods [of achieving success]; we can seize these opportunities that are given to us, and give ourselves a very fair chance of obtaining riches” (Instinct). The Vanderbilt family’s sudden attainment of vast

Spanning back to the storied “Gilded Age” of an America burgeoning economically as a result of the industrial revolution, the Newport Mansions were erected by the ultra-rich families like the Vanderbilts. Serving as both a monument to their financial

While most of the primary characters in the American Gothic cannon are members of the aristocracy, their societally dominant position does not guarantee them satisfying lives. The focus of this analysis will be the portrayal of the individual as it relates to his or her economic status: does having wealth mean that upper class characters are more likely to lead fulfilling lives than middle/lower class characters? Through a close reading of Edgar Allen Poe’s “The Fall of the House of Usher,” Nathaniel Hawthorne’s The House of the Seven Gables, Kate Chopin’s “Désirée’s Baby,” and Edith Wharton’s Ethan Frome, readers can clearly see a pattern of social commentary in which the members of the aristocracy are—in general—the most restricted,

In Arlie Russell Hochschild’s, “Love and Gold,” she depicts the economic influences that turn choices of mothers in Third World countries into a precondition. Similarly, in Toni Morrison’s, Sula, a recurring theme of the struggle between independence, the ability to choose, and doing what’s best for others, or coerced decisions, is imminent throughout the entire novel and revolved around the main character, Sula. Often times the factor that weighs down choice is responsibility. Choices are seemingly infinite until you factor in what choices will affect which people and why. Both mothers and caregivers have to put their dependent before themselves, therefore limiting their

Although there are benefits of social mobility from new wealth peoples and patrons, tradition in maintaining class structure is imperative and belonging to a class should be accompanied with finances. After Mr. Elton proposes to Emma, the narrator attempts to understand Mr. Elton’s motives.

Jane Austen was a Georgian era author who was best known for her novels that commented on social issues and class, and Northanger Abbey is no exception. Austen’s social commentary is apparent in this novel’s plot, as the reader follows a seventeen-year-old protagonist, Catherine Morland, as she matures and forms intimate relationships with fellow characters in an England town called Bath. Marriage between characters in the novel is heavily based on wealth, and because of England’s unstable economy at the time, marrying into wealth meant maintaining a high social class and economic stability for the characters. The importance of economic prosperity and social rank heavily influenced marriage in 19th century England, and this idea bourgeoisie classism and marrying for wealth is contradicted by Austen in her novel, Northanger Abbey.

Both Capote’s Breakfast at Tiffany’s and Fitzgerald’s The Great Gatsby illustrate that when one centers their life upon the propriety and luxury that a traditionalistic lifestyle supports, they will repress into the comfort of their money and fail to progress towards the American Dream. Fitzgerald argues that the modernist’s ambition towards a singular focused dream will lead to feelings of unfulfillment, though Capote counters that the modernists inability to find satisfaction within their life will allow opportunities to pass them by.

One of the major topics explored in The Great Gatsby is the sociology of wealth, specifically, how the newly minted millionaires of the 1920s differ from and relate to the old aristocracy of the country’s richest families. In the novel, West Egg and its denizens represent the newly rich, while East Egg and its denizens, especially Daisy and Tom, represent the old aristocracy. Fitzgerald portrays the newly rich as being vulgar, gaudy, ostentatious, and lacking in social graces and taste. Gatsby, for example, lives in a monstrously ornate mansion, wears a pink suit, drives a Rolls-Royce,

In “The Six Gilded Bits” we meet Joe and Misse Mae, newlyweds. They are young, in love and exceptionally happy with their life. They have lived a modest life in a small house “but there was something happy about it”. (Hurston 1) We meet Misse Mae first as she is

Kelly J. Mayes defines plot in The Norton Introduction to Literature as the way the author sequences and paces the events so as to shape our response and interpretation. Every piece of literature contains a plot pattern that follows Freytag’s pyramid. This pyramid consists of an exposition, rising action, a climax, falling action, and a conclusion. Though each story displays this pattern of organization, authors use many different literary devices to differentiate their work and to acquire the response they want to achieve from their audience. The author of “The Jewelry,” Guy De Maupassant, correctly followed Freytag’s Pyramid and used varied literary devices to create a suspenseful read for the audience.

“Emma Woodhouse, handsome, clever, and rich, with a comfortable home and a happy disposition...”(pg.1,chap.1) lived in nineteenth century Regency England, where

The social hierarchy is influenced by the amount of money one owns which determines whether one can attain their dream. By creating apparent social classes within ‘The Great Gatsby’ – old money, new money and no money, Fitzgerald strongly suggests that American society is intensely stigmatised. Daisy, Tom and Jordan represent the elite social class of society where despite their problems and failures they are always protected and immune by their wealth. Tom refers to Gatsby as ‘Mr Nobody from nowhere” and a “common swindler who would have to steal the ring he put on her finger” as he boasts about his hereditary wealth compared to the other distinct elite group of society who acquire their wealth through business deals, which are sometimes corrupt. Although Fitzgerald mainly attacks the rich, by making them look judgemental, superior and selfish, evidently the lower class of society are vulnerable within American society. This is shown where so many, like Myrtle,

A reader’s understanding of the eponymous central character of F. Scott Fitzgerald’s The Great Gatsby cannot be considered complete until said character is compared to him whose name was the second choice for the title of the novel: Petronius’ Trimalchio. Fitzgerald, by comparing Gatsby and Trimalchio, critiques the excesses of high society in 1920s America, although there remains a redeeming element in Gatsby not shared by the other bourgeoisie. Both Gatsby and Trimalchio possess opulent wealth, and each one leverages said wealth in orgiastic parties and banquets the excess of which shows both Petronius’ and Fitzgerald’s disdain for the decadence of the plutocrats of their respective eras. Gatsby has his food set up such that “spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold” and his alcohol consists of “gins and liquors and . . .

The appropriately named Last family, epitomises the typical petulant aristocrats of the 1930’s. Their marriage is successful because of ‘’ Benda’s pretty ways and Tony’s good sense ‘’ ( p. ). Waugh adapts a simple story of the 1930’s society and centre’s it around Tony and Brenda Last. Patriarch Tony Last is enamoured with his feudal estate Hetton, ‘’ there is not a glazed brick or encaustic tile that is not dear to Tony's heart ‘’ (p . Hetton has been in Tony’s family and it seen as a continuation a tradition which he hopes his son will inherit after Tony dies. ‘’ We've always lived here and I hope John will be able to keep it on after me. One has a duty towards one's employees, and towards the place too. It's a

The Regency time period was an era of great wealth. Both men and women worked vigorously to become part of the upper class. Marrying for upper class women was the only way to gain a source of income (Hall). Women would even change their way of life to be able to marry into wealth. A truth universally acknowledged, that a single main possession of a good fortune, must be in want of a wife, said Mrs. Bennett (Hall). In the Regency time period, wealth played a huge role in both men and women’s lives