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Princeton as Modernist’s Hermeneutics
by
NANCY P. VAN ARSDALE
in
Afterlife
/ Applied arts
/ Architectural elements
/ Architecture
/ Art genres and movements
/ Art history
/ Arts
/ Communications
/ Decorative architecture
/ Doctrinal theology
/ Education
/ Educational institutions
/ Eschatology
/ Fiction
/ Formal education
/ Gargoyles
/ Literary characters
/ Literary criticism
/ Literary elements
/ Literary genres
/ Literary studies
/ Literature
/ Modernist art
/ Novels
/ Paradise
/ Protagonists
/ Religion
/ School campuses
/ Semiotics
/ Social sciences
/ Symbolism
/ Systematic theology
/ Theology
2012
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Princeton as Modernist’s Hermeneutics
by
NANCY P. VAN ARSDALE
in
Afterlife
/ Applied arts
/ Architectural elements
/ Architecture
/ Art genres and movements
/ Art history
/ Arts
/ Communications
/ Decorative architecture
/ Doctrinal theology
/ Education
/ Educational institutions
/ Eschatology
/ Fiction
/ Formal education
/ Gargoyles
/ Literary characters
/ Literary criticism
/ Literary elements
/ Literary genres
/ Literary studies
/ Literature
/ Modernist art
/ Novels
/ Paradise
/ Protagonists
/ Religion
/ School campuses
/ Semiotics
/ Social sciences
/ Symbolism
/ Systematic theology
/ Theology
2012
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Do you wish to request the book?
Princeton as Modernist’s Hermeneutics
by
NANCY P. VAN ARSDALE
in
Afterlife
/ Applied arts
/ Architectural elements
/ Architecture
/ Art genres and movements
/ Art history
/ Arts
/ Communications
/ Decorative architecture
/ Doctrinal theology
/ Education
/ Educational institutions
/ Eschatology
/ Fiction
/ Formal education
/ Gargoyles
/ Literary characters
/ Literary criticism
/ Literary elements
/ Literary genres
/ Literary studies
/ Literature
/ Modernist art
/ Novels
/ Paradise
/ Protagonists
/ Religion
/ School campuses
/ Semiotics
/ Social sciences
/ Symbolism
/ Systematic theology
/ Theology
2012
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Princeton as Modernist’s Hermeneutics
2012
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Overview
Princeton, not Amory Blaine, is the center of This Side of Paradise. Although many critics tend to analyze the text as a bildungsroman, an episodic accounting of a young man’s maturation, this first book is better understood as the author’s effort to interpret what he had personally signified as the symbol of symbols, Princeton University. F. Scott Fitzgerald presented the institution as far more than a setting; indeed it became his center of the universe. Princeton must be analyzed as a modernist’s paradise temporarily gained, inevitably lost, never forgotten. Readmission remains Amory’s secret hope, as it was for Adam, Eve,
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