The Critical Reception of Flappers & Philosophers

After his first novel "This Side of Heaven", he achieved "remarkable success", successor to successor and philosopher and Floridan acted as "preliminary re-establishment of F. Scott Fitzgerald". "[1] Fitzgerald publisher Scribners likes to publish a collection of short stories to writers shortly after publishing a novel; in the fall of 1920, Fitzgerald and publishers strengthen and expand the author's support Gives a unique opportunity for. Welcome level In April 1920, when Fitzgerald chose to be included in Flappers and philosophers, his 15 stories were published or accepted for future publication.

Illustrator such as American writers such as F. Scott Fitzgerald and Anita Loos, Russell Patterson, John Held, Jr. Ethel Hays and Faith Burrows promoted the appearance and lifestyle of the flapper through their work, and the clapper was seen to be attractive, reckless and independent. Among those who criticized the plug-in boom, there was writer critic Dorothy Parker who wrote "Flappers: A Hate Song" to ridicule this fashion. The Minister of Labor blamed "frivolous smoking, drinking cocktail drinking baffle". Psychologist at Harvard University reported that baffle has "minimal intelligence". That is a "problem that educators do not want".

Many women celebrate the era of baffle as an independent declaration for women. Compared with Victorian socially silent women, new appearance, work and lifestyle experiments seem to be released. Baffle will choose not to be your father or husband but to please your own activities. But the critics soon revealed the shortcomings of the baffle. Prior to the revival of the feminist in the 1960s, the political tasks accepted by previous generations were largely ignored. Many people want to know whether baffles are expressing themselves or behaving like humans. Smoking, drinking and sexual experiments are characteristic of contemporary young women. Short hair and restrained chest increase effect. There is one sure thing. Despite the potential political and social benefits or losses, the people of the 1920s are sure to have a good time.

In 1922, the small magazine in Chicago, The Flapper, celebrated the charm of the baffle. On the opening page of the first issue, it proudly claims that the baffle breaks the traditional values. In addition, the baffle protects them by contrasting with the previous generation women who they call "close to the vine". They laugh at restricted fashion and the passivity of a quiet old lady and are shining in their own freedom. They did not even acknowledge that the previous generation of women activists allowed baffle freedom.