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Topics are the basic and often universally applicable concepts that are examined in a work of literature. The Great Gatsby is a tale on the screen about the failed romance between a man and a women. However, the novel's principal subject matter is much wider, less romanticized. Although all his actions take place in the sommer of 1922 in just a few month's time and in a defined geographic area near Long Island, New York, The Great Gatsby is a deeply symbolic mediation about the entire America of the 1920s, especially the dissolution of the US dreams at a time of unparalleled wealth and abundance.

The 1920s are portrayed by Fitzgerald as an age of decaying societal and ethical value, reflected in her overall zynism, lust, and empty striving for enjoyment. Ruthless rejoicing that lead to decrepit partying and frenzied jazzmusic - epitomised in The Great Gatsby by the sumptuous partying Gatsby hosts every Saturday evening - eventually resulted in the corrupt nature of the US nightmare as the uninhibited craving for cash and enjoyment exceeded nobler ambitions.

At the end of World War I in 1918, the young Americans who had waged the campaign were severely demoralized as the violent bloodbath they had just been confronted made the early twentieth-century Victorian welfare morals of America seem like a musty, empty pretense. An individual of any origin could potentially earn a living, but the old wealthy noble Americans despise the nouveau riche businessmen and gamblers.

The Fitzgerald positioned the character of The Great Gatsby as an emblem of these societal tendencies. Both Nick and Gatsby, who were fighting in World War I, show the newly discovered cosmopolitan and cynical attitude that resulted from the conflict. Gatsby's various societal climber and aspiring speculator participants at Gatsby's party are testimony to the hungry struggle for riches.

The assets of Meyer Wolfshiem and Gatsby symbolise the emergence of organised criminality and smuggling. Fitzgerald saw it (and Nick explained in Section 9) that the original shape of the US vision was exploration, individuation and the quest for luck. However, in the twenties, as the novel shows, light cash and relaxing societal beliefs spoiled this vision, especially on the East Coast.

Gatsby's novel's main plot mirrors this view, for Gatsby's dreams of love for Daisy are reflected in the differences in their status, his recourse to crimes to earn enough cash to charm them, and the unbridled physicalism that characterises their lifestyles. Moreover, places and artefacts in The Great Gatsby have significance only because they are given significance by characters: Doctor T. J. Eckleburg's eye best illustrates this notion.

Throughout Nick's head, the capacity to design useful icons is a key part of the U.S. dreams as early Americans equipped their new nations with their own ideas and beliefs. As Nick compared the mass of America's vegetation that rises out of the sea with the vegetation at the end of Daisy's boatyard, he saw that the vegetation was the same.

As Americans have given America sense through their own life aspirations, Gatsby Daisy adds a kind of idealised perfect that she neither owns nor earns. Gatsby's fantasy is wrecked by the indignity of his subject, just as the 1920s US fantasy is wrecked by the indignity of his subject - cash and fun.

Just like the Americans of the twenties in general, who unsuccessfully search for a past period in which their hopes had value, Gatsby yearns to restore a lost past - his Louisville days with Daisy - but he is unable to. All Gatsby has to do if his fantasy collapses is surrender; all Nick can do is return to Minnesota, where America's assets haven't fallen.

The Great Gatsby deals with the anthropology of riches, especially how the emerging wealthy people of the twenties differ from and refer to the old nobility of the country's wealthiest family. The novel depicts West Egg and its inhabitants as the new wealthy, while East Egg and its inhabitants, especially Daisy and Tom, are the old archbishop.

The Fitzgerald portrait of the new wealthy is voluptuous, flashy, showy and without classiness or flavour. Gatsby, for example, is living in a monstrous villa, wearing a rose -colored dress coat, driving a Rolls-Royce and does not take up any subtile societal signal, like the dishonesty of the Sloanes' dinner-party.

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