The Lost Generation And Jazz Music

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In 1931 a journalist named Fredrick Lewis Allen published an informal history Only Yesterday that shaped the popular image of American 1920’s as a cynical, hedonistic interlude between the Great War and the Great Depression – a decade of dissipation, jazz bands, racoon coats and bathtub gin. He argued that World War I shattered Americans’ faith in reform and moral crusades, leading the younger generation to rebel against traditional taboos while the elders engaged in an orgy of consumption and speculation. The popular image of the 1920s as a decade of prosperity and riotous living and of bootleggers and gangsters, flappers and hot Jazz, flagpole sitters, and marathon dancers is indelibly etched in the American psyche. However the image too is profoundly misleading. The 1920s was a decade of deep cultural conflict, the pitting of a more cosmopolitan, modernist, urban culture against a more provincial traditionalist, moral culture. F. Scott Fitzgerald and Ernest Hemingway are both writers of the “Lost Generation”, of 1920s and through their writings; they show the young generations of 1920s masking their depression behind their forced exuberance of the Jazz Age. Popular mythology holds that the 1920s were a historical milestone in American women’s achievement of political and personal autonomy. The collective imagination maintains a fixed place for the smiling, devil–may–care “flapper” who while perhaps may not have been politically conscientious enough to vote but certainly buoyed up by the authority to do so, puts a face on the otherwise ethical “new woman”. Freed at last from the fetters of American Victorianism, she was restrained by trailing skirts, corsets or old fashioned notions of sex. Gloria, the female protagonist of Fitzgerald’s The Beautiful and Damned is portrayed as an incarnate of physical beauty whose creed is enjoyment. She does not resist her

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