Download Writing Celebrity: Stein, Fitzgerald, and the Modern(ist) by T. Galow PDF

By T. Galow

Writing star lines the increase of a countrywide big name tradition within the usa and examines the impression that this tradition had on “literary” writing within the many years prior to global struggle II.  Galow reveal the relevance of famous person for literary scholarship by means of re-evaluating the careers of 2 significant American authors, F. Scott Fitzgerald and Gertrude Stein.

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Extra resources for Writing Celebrity: Stein, Fitzgerald, and the Modern(ist) Art of Self-Fashioning (American Literature Readings in the 21st Century)

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Many other figures crucial to the process have also fallen outside the purview of much contemporary scholarship, including literary agents and journalists. If the previous example suggests one way that Stein’s image may have been inflected by external forces, Fitzgerald’s attempt to refashion his persona during the 1930s demonstrates how little control writers often had over their own personae. As noted above, Fitzgerald cultivated the image of an impetuous genius during the early years of his career and he was regularly characterized in the press as the voice of a new generation.

With respect to the high/low divide, both authors suggest that, particularly in the mobile media environment of the early twentieth century, the two options are not necessarily mutually exclusive. It is possible, at least in the imaginative context of their literary and promotional texts, to fashion a persona that can acknowledge differences without being entirely bound by them. Modernism in the Depression While such an approach might seem fitting amidst the radical experimentation that characterized some aesthetic circles in the 1910s and 1920s, much of the analysis in subsequent sections involves work produced during the Great Depression, a period not typically associated with speculative self-fashioning or traditional debates about aesthetic value.

16 Celebrity, Textual Production, and Promotion One danger of focusing on the reception of texts is that it often leads critics to oversimplify the production process and place an inordinate emphasis on the agency of particular individuals. ” By extension, the high/low aesthetic divide can seem like little more than a tactical move perpetrated by authors trying to find a space in a thoroughly commodified literary marketplace. The complexity of a text certainly did have an impact on the way writers were categorized by readers; moreover, writers of all dispositions did attempt to shape the way they were perceived by audiences.

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