Основное своеобразие творчества Фиц

Основное своеобразие творчества Фицджеральда заключается в том, что американский писатель являлся представителем “века джаза”.Век джаза - это середина двадцатых годов, это времена страшной нищеты и несметного богатства, это эпоха "новых американцев", чикагских гангстеров и сухого закона.Чертами этого поколения были бездеятельность, преклонение перед успехом, заискивание перед богатыми. Следует отметить, что главный герой стремится к воплощению американский мечты, вступив на пусть преступления. Однако Гэтсби, безусловно, гораздо более романтичен, размыт, а вместе с ним более поэтична у Фицджеральда великая “американская мечта”.Гэтсби в контексте “американской мечты”, владевшей умами людей до Великой депресии, - не просто герой, он идеал для подражания, с которого должны были бы делать жизнь все обдумывающие житье американские юноши. Но американская мечта рассыпается на глазах. Гэтсби несметно богат, влиятелен, хорош собой - только всего этого недостаточно даже в Америке. Бесцеремонные гости распускают за его спиной сплетни.
сам Гэтсби не доверяет себе. Когда он выходит по вечерам из своего дома, смотрит на противоположный берег залива и протягивает к нему руки - он тянется не к женщине, которую когда-то знал и которую до сих пор любит. Он тянется к своему прошлому, которого не было. Символический смысл его любви прозрачен: он влюблен в Ту, что на другом берегу, он боится, что Она его отвергнет, ради Нее он богатеет и устраивает балы, он любит не только Ее самое, но и память о своем прошлом, связанным с Ней, - о прошлом, которое у него отняли.Но, как пишет В. Сонькин, хотя с этим можно поспорить: “настоящая американская мечта - это мечта стать Европой. Такие мечты не сбываются”. Все повествование насыщено метафорами, своим контрастом подчеркивающими эту двойную перспективу происходящих в нем событий: карнавал в поместье Гэтсби - и соседствующая с его домом свалка отбросов, “зеленый огонек” счастья, на миг посветивший герою, - и мертвые глаза, смотрящие с гигантского рекламного щита, и т.п. Хрупкая поэзия “века джаза” и его обратная сторона – разгул стяжательских амбиций, порождающих аморализм, - переданы писателем в их нерасторжимом единстве.
Двойственность проявляется в сопоставлении различных мотивов: карнавала и трагедии, праздничности и холодной расчетливости, веселья и холодной мертвенности, любви и продажности.Так, “магия” карнавала, не прекращающегося на протяжении почти всего действия романа, усиливается и приобретает драматический оттенок ввиду близкого присутствия “гибельного места” - Долины Шлака: здесь, под колесами автомобиля, которым управляет Дэйзи, погибнет любовница Бьюкенена, а Гэтсби расплатится жизнью за трагедию, в которой неповинен.Фицджеральд настойчиво стремится создать у читателя ощущение какой-то загадки, таящейся в судьбе Гэтсби, и это стремление, безусловно, не продиктовано лишь требованиями детективного жанра. Дело и не в недостаточно умелой выписанности главного персонажа.
Неясность, “расплывчатость” заключена в самом характере Гэтсби. Как справедливо отмечает А. Зверев, “он “расплывчат” по сути, потому что в душе Гэтсби разворачивается конфликт двух несовместимых устремлений, двух совершенно разнородных начал. Одно из этих начал — “наивность”, простота сердца, не гаснущий отблеск “зеленого огонька”, звезды “неимоверного будущего счастья”, в которое Гэтсби верит всей душой. Соединение столь полярных начал в образе героя, конечно же, не может не закончиться “взрывом”. И гибель Гэтсби, по первому впечатлению нелепая, на деле — закономерный, единственно возможный финал. Дело в том, что средства, избранные героем для завоевания счастья, каким он себе его представляет. “Мечта” рушится — не только потому, что Дэйзи оказывается продажной, но и потому, что “непреодолимо духовное заблуждение самого Гэтсби, который “естественное” счастье вознамерился завоевать бесчестным, противоестественным путем, выплатив за Дэйзи большую, чем Бьюкенен.Возникает правомерный вопрос: почему же в таком случае Фицджеральд назвал своего героя великим? В заглавии романа обычно видят авторскую иронию. И на первый взгляд это так: Гэтсби, человек явно незаурядный, растерял себя в погоне за ничтожной целью — богатством. Ничтожным оказалось и его божество — Дэйзи, к чьим ногам положена вся его жизнь.Но в определенном смысле Гэтсби действительно велик. Он воплощает ярчайший тип американского “мечтателя”, хотя “мечта” и ведет его сначала на опасную тропу мафии, затем — в совершенно чужой его натуре мир Тома Бьюкенена и, наконец, к катастрофе.
Как пишет Фицджеральд, подводя итог роману, “Гэтсби верил в зеленый огонек, свет неимоверного будущего счастья, которое отодвигается с каждым годом. Пусть оно ускользнуло сегодня, не беда – завтра мы побежим еще быстрее, еще дальше станем протягивать руки… И в одно прекрасное утро…”Но все дело как раз в том, что прекрасного утра наступить не может. Идеал недостижим.

Результаты (английский) 1:

The main peculiarity of Fitzgerald's work is that the American writer was a member of the "jazz age." jazz age is mid twenties, it's times of dire poverty and innumerable wealth, this is the era of the "New Americans", Chicago gangster and prohibition. features of this generation were inaction, worship, flattery success beforethe rich. It should be noted that the main character seeks to realize the American dream by joining the let the crime. But Gatsby is definitely much more romantic, soft, and with it more poetic, is equally impressive from Fitzgerald's great "American dream." Gatsby in the context of the "American dream" that had the minds of people prior to the great depression, is not just a hero, he's the ideal role model, which would make life all contemplating the life of American men. But the American dream is crumbling before our eyes. Gatsby coax hugely rich, influential, handsome-but all this is not enough, even in America. Arrogant you dismiss gossip behind his back. the Gatsby does not trust yourself. When he goes out in the evening from her home, looking at the other side of the Bay and stretches the hands-it is not the woman that you once knew and still loves. He reaches out to its past, which has not been. The symbolic meaning of his love is transparent: he is in love with the one on the other side, he is afraid that She will reject it, for the sake of it he gets rich and comfortable with balls, he likes not only the greatest but also the memory of their past, related, the-past, which he took away. But, as Son′kin writes, although this is debatable: "this American dream is a dream become Europe. Such dreams do not come true. " All the narrative is full of metaphors, their contrast to underline this dual perspective of the event: Carnival in the estate of Gatsby and adjoining his home waste dump, "green light" happiness, for a moment, the hero-posvetivšij and dead eyes staring with a giant Billboard, etc. "a century of jazz poetry is fragile" and its flip side-binge stâžatel′skih ambitions, generating thank you,-transferred to a writer in them an unbreakable unity.Duality is evident in comparing the various motifs: the Carnival and the tragedy of conviviality and fun, tough-minded and cold cold deadness, love and venality. for example, the "magic" of Carnival, is continuing for almost all the action of the novel, and takes on a dramatic hue because of the close presence of the "wrong places" Slag Valley: here under the wheels of the car, which is operated by Daisy Buchanan's mistress dies, and Gatsby repay lives for tragedy, in which he insistently seeks a Fitzgerald in the reader a feeling of some puzzlesinherent in the fate of Gatsby, and this desire is certainly not only dictated by the requirements of the detective genre. And not enough skillful vypisannosti main character.Ambiguity, "vagueness" lies in the nature of Gatsby. As rightly pointed out by a. Zverev, the "it" vague "as a matter of fact, because at heart Gatsby unfolds conflict two incompatible aspirations, two quite dissimilar began. One of these is "naivety" began, the simplicity of the heart, not the fading glow of "green lights", star of "incredible future happiness", in which Gatsby believed with all my heart. The connection is so polar started in the image of the hero, of course, cannot but result in "explosion". And the death of Gatsby, the first impression is really absurd, logical, the only possible ending. The fact that the means chosen hero to the conquest of happiness, as it itself it represents. "Dream" is collapsing, not only because Daisy is selling, but also because of "compelling spiritual delusion of Gatsby that" natural "happiness and ultimately conquer the dishonest, unnatural way by paying for Daisy Buchanan than there is a legitimate question: why in that case, Fitzgerald has called their hero great? In the title of the novel usually see author's irony. And on the face of it this way: Gatsby, a man clearly outstanding, lost themselves in the pursuit of a void to wealth. Void proved his deity as Daisy, whose feet is his entire life. But, in a sense, Gatsby is really great. He embodies the brightest American Type "dreamer", while "dream" and leads him first to a dangerous trail of the mafia, then in a completely alien to its nature, the world of Tom Buchanan and, finally, to disaster.Fitzgerald writes, summing up the novel, "Gatsby believed in the green light, the light of incredible future happiness, which pushed back every year. Let it slip today, never mind, tomorrow we will run faster, further we will reach the hands of ... And one fine morning... "but the thing is that a nice morning occur can not. The ideal is not reachable.

Результаты (английский) 2:

The main originality of Fitzgerald's is an American writer that was representative of the "Jazz Age" .Vek jazz - it's the middle of the twenties, this time of dire poverty and incalculable wealth, is the era of "new Americans" Chicago gangsters and dry zakona.Chertami this generation were inactivity, worship of success, kowtowing to the rich. It should be noted that the protagonist seeks to embody the American dream, let embarked on a crime. However Gatsby, of course, much more romantic, blurred, and with it a more poetic Fitzgerald great "American Dream" .Getsbi in the context of the "American Dream", which owned the minds of people to the Great depression - not just a hero, he is an ideal role model, from which would have to make the lives of all American boys contemplating habitation. But the American dream is crumbling before our eyes. Gatsby immensely rich, influential, good-looking - but that's not enough, even in America. Inconsiderate guests are spreading gossip behind him.
Gatsby himself did not trust himself. When he goes out at night from his home, looking at the opposite shore of the Gulf and stretches out her arms to him - it extends not to the woman he once knew and which still loves. He reaches for his past, which was not. The symbolic meaning of his love is clear: he is in love with the one on the other bank, he is afraid that she will reject him, for her, he gets richer and arranges balls, he not only loves her the most, but the memory of his past, associated with it, - of the past, which he otnyali.No, writes V. Sonkin, although this is debatable, "real American dream - a dream to become Europe. Such dreams do not come true. " All the story is full of metaphors, their contrast emphasizes this dual perspective of events occurring in it: Carnival estate Gatsby - and next to his house garbage dump, "green light" happiness, for an instant shine to the hero - and the dead eyes staring from a giant billboard , etc. Fragile poetry "Century of Jazz" and its flip side - the rampant acquisitive ambitions generating amorality - handed a writer in their indissoluble unity.
The duality manifests itself in comparing the different motives: the carnival and tragedy, conviviality and cold prudence, fun and cold deadness, love and venality .tak, "magic" of the carnival, do not stop for most of the novel, is enhanced and becomes dramatic connotation due to the close presence of "deadly place" - Slag Valley: here, under the wheels of a vehicle operated by Daisy Buchanan's mistress dies, and will pay Gatsby life for the tragedy, in which nepovinen.Fitsdzherald persistently seeks to create in the reader a sense of some mysteries lurking in the fate of Gatsby, and this tendency is certainly not only dictated by the requirements of the detective genre. Business and not enough skilled of issue of the title character.
Uncertainty, "vagueness" lies in the character of Gatsby. As rightly pointed out by A. Zverev, "he was" vague "in fact, because the soul Gatsby unfolding conflict between two incompatible aspirations of two completely heterogeneous principles. One of these principles - "naive", simplicity of heart, not fading reflection of the "green light" stars "incredible future happiness" in which Gatsby believes with all his heart. Connect as polar began in the image of the hero, of course, can not result in an "explosion". And the death of Gatsby, at first glance ridiculous, in fact - a natural, the only possible ending. The fact that the means chosen by the hero to win happiness, as he himself it is. "Dream" is collapsing - not only because Daisy is selling, but also because "the most compelling spiritual deception Gatsby, which is the" natural "happiness set out to conquer the infamous, unnatural way, paying for Daisy greater than Byukenen.Voznikaet legitimate question: Why, then, Fitzgerald called his character is so great? In the title of the novel usually see the author's irony. And at first glance it this way: Gatsby, the man clearly outstanding, lost themselves in the pursuit of an insignificant goal - wealth. Void and turned his deity - Daisy, at whose feet put his whole zhizn.No in a sense Gatsby is really great. He embodies the perfect type of American "dreamer" although "a dream" and leads him on a dangerous path first Mafia, then - in a completely foreign to his nature the world of Tom Buchanan, and finally to catastrophe.
According to Fitzgerald, summing up the novel, "Gatsby believed in the green light, the light of the incredible future happiness, which is removed every year. Let it escape today, it does not matter - tomorrow we will run faster, will become even further stretching his hands ... And one fine morning ... "But the point is just that beautiful morning can not come. Ideal is unattainable.

Результаты (английский) 3:

The main identity creativity Fitzgerald is that the American writer was a representative of the "twentieth century jazz" .Century jazz - it is the middle Minette,This is the dire poverty and myriad wealth, this is the era of the new Americans", Chicago gangsters and dry law.features of this generation have been inactivity, subvention before success,West promised to rich. It should be noted that the main character is trying to translate the American dream, by assuming the let crimes. However, Гэтсби, of course, is a much more romantic, underpaying,And together with them the more поэтична Fitzgerald the great "American dream" .Гэтсби in the context of the "American dream", which had minds to the great депресии, - not just a hero, he was an ideal to be emulated,With which should have been to make life all обдумывающие attentive American boys. But the American dream to the eyes of the politician. Гэтсби несметно rich, during his four years,As good a - only all of this is not enough even in America. Intrusive guests dissolving behind him gossip.
Himself Гэтсби does not trust itself. When it comes out in the evening from their homes,Looking at the opposite shore gulf and pulls the hands - he stretches is not the woman, which when the knew and which still loves. It stretches back to the past, which was not.Symbolic meaning of his love is transparent: he is in love with the that, on the other bank, he is afraid that it reject it, for it he disciples and are satisfied with mount Sinai, he loves not only its the most, but also memory of his past,Related to it, - on the past, which he had been robbed.But, as writes in. Сонькин, although with this you can bet: "This american dream - it is a dream to become Europe. Such dreams are not marketed".The story saturated metaphors, its contrast highlights this dual perspective of developments in it events: carnival in manor house Гэтсби - and safe havens with his house Dogpile junkies,The "green" happiness, the mig посветившии programr - and dead eyes, watching the giant billboard, etc. ). Fragile poetry "century jazz" and his back side - rampage стяжательских ambitions,Underlying аморализм, transferred to writer in their Caravaggio unity.
duality is evident in comparing the various motives: carnival and tragedy, wills and cold not afraid,Fun and cold cognition, love and journalists.For example, the "magic" carnival, not прекращающегося for almost all the actions Romana,Is amplified and becomes a dramatic tint because of a close presence "president Bush places" - the Valley slag: here, under the wheels of the vehicle, which manages Brickaville, die mistress Buchanan,A Kazakh company wants Гэтсби lives for the tragedy, in which he shall not touch thee any more.Fitzgerald has consistently sought to create the reader a sense of the riddle, inherent in the fate of Гэтсби, and this desire, of course,Not only requirements dictated by Сreation genre. The case is not enough and is not a skillful выписанности main character.
ambiguity, "vagueness" lies in the very nature of Гэтсби. As rightly pointed out as well.Koulik, "he "article" in fact, because that is unfolding in the shower Гэтсби conflict two incompatible aspirations, two quite heterogeneous began. One of these began - "naive", easy-to-heart,Not Afurdzhin Waterfall draw and summoning the "green later", stars "tremendous future happiness", in which Гэтсби believes the entire soul. The connection is so polar began in the lifestyle hero, of course, may not be completed "explosion".And the resulting loss of Гэтсби, on first impression pathetic, in fact, legitimate, the only possible match. The fact that the funds have been elected hero to gain happiness, how could he have it represents."The Dream" collapsing - not only because the Brickaville is selling, but because the "insurmountable spiritual misleading the Гэтсби, which "natural" happiness declare win dishonest,Unnatural way, paying for the Brickaville more than Buchanan.There is a valid question: why, in such a case, Fitzgerald named his hero the great? The title novel usually see dolphins" ironic.And at first glance this is so: Гэтсби, people is clearly exceptional, lose themselves in the race for the void to - wealth. Void has proved and his divinity - Brickaville, whose feet is based on all his life.But in a certain sense Гэтсби really is great. It embodies not be overblown American type "performances", although the "dream" and leads his first at the dangerous trail mafia,And then - in a totally alien his kind peace volume at Buchanan and, finally, to the brink of catastrophe.
as writes Fitzgerald, summarizing the roman, "Гэтсби believed in green, the light tremendous future happiness,Which moves with each passing year. Let it proved elusive today, do not worry - tomorrow we will flee even faster, even further will be pulling your hands ... and in one great morning ... "but it is all about the times in that,That beautiful morning come may not. The ideal is unattainable.