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This dissertation examines F. Scott Fitzgerald’s short stories as they were first published in magazines, sharing page space with illustrations and advertisements. The presence and interplay of media types and paratexts in the magazine stories may significantly impact the reading experience, creating different interpretative possibilities. In this study, an intermedial framework is used to examine select magazine stories. This framework, which also takes inspiration from periodical and multimodal studies, considers the illustrations, advertisements, and short stories as media types with specific characteristics.

The intermedial analyses focus on three stories published at different stages of the most active period in Fitzgerald’s writing career. The earliest story, “Winter Dreams” (1922) was published in the two magazines MacLean’s and Metropolitan, “Diamond Dick and the First Law of Woman” (1924) appeared in Hearst’s International, and “Family in the Wind” (1932) was published in the Saturday Evening Post. Each case study foregrounds a central theme—nostalgia, gender, and nature, respectively—chosen for its prominence in Fitzgerald’s work, its cultural significance during the Jazz Age, and its continued relevance today. Across all three chapters, the dissertation examines media combination, showing how interactions between literary text and illustration consistently nuance or alter thematic emphases found in the text alone. Transmediation, or how the narrative of one media type is transformed by another, becomes particularly important in discussions about the illustrators’ selection and visual development of narrative scenes, and media representation informs analyses of how references to other media types such as film and news function within the stories.

The case study in Chapter 1 focuses on how the illustrations and advertisements in the two magazines interact with nostalgic aspects of the literary text of “Winter Dreams,” the illustrations and the ads magnifying youth and youthful romantic experiences. The case study in Chapter 2 examines how Fitzgerald takes inspiration from the dime novel to bring to the fore various character types that interrogate gender identity, but how the illustrations in the magazine, in contrast, present a rather conservative construction of gender. The case study in Chapter 3 highlights how Fitzgerald is stylistically influenced by the media types of film and news in “Family in the Wind.” The sense of urgency and veracity around the tornado that impacts the town in the story, contrasts to how the magazine layout emphasizes illustrations that focus on human drama.

The dissertation contributes to Fitzgerald studies by foregrounding original publication contexts, to literary studies through close readings of lesser-studied works, to intermedial studies via the extensive application of an intermedial framework on the magazine stories, and to periodical studies by demonstrating the value of integrating intermedial and periodical methodologies.

This article employs an intermedial approach to explore the interpretative possibilities that arise from the interactions of different media types in two 1922 magazine versions of F. Scott Fitzgerald’s “Winter Dreams.” Intermediality studies the relationship between media with close consideration of their characteristic possibilities and limitations. The magazine, a media product, combines media types such as narrative texts, illustrations, and advertisements, a combination that creates a reading experience of “Winter Dreams” that differs from experiencing it ina collection or anthology. Arthur William Brown provided the illustrations for both publications in question, the New York-based Metropolitan magazine andthe Canadian magazine MacLean’s. Despite having the same illustrator, the first page of each highlights a different aspect of the story: in MacLean’s, the combination of media types teases the reader with a potential love triangle, while in Metropolitan, it anticipates the doomed relationship between Dexter Green and Judy Jones. This article primarily focuses on how these media types engage with the story’s nostalgic theme and mood, and on a contextual level, with the nostalgia that characterized the youth-idealizing Jazz Age. Youth is one of nostalgia’s primary tropes, with the flapper an emblem of ephemeral beauty. In both versions of “Winter Dreams,” the advertisements’ emphasis on youth and aging echoes Dexter’s distress at discovering Judy’s faded looks, and they reflect the collective worship of youth culture in the 1920s.

The present article attempts to contribute to both Fitzgerald scholarship and nostalgia studies by examining how text, illustration, and advertisement enter into dialogue in the original magazine format of F. Scott Fitzgerald’s short story “The Rich Boy”. As research is still scarce on Fitzgerald’s stories as they were first published, this field may hold new, potential research paths for this canonical author, a few of which I endeavor to explore here. This paper suggests that this 1926 magazine version offers a unique nostalgic experience that differs from the reading of Fitzgerald’s text in an image-free anthology. It argues that, with some exceptions, these media generally interact in a cohesive way that echoes or reinforces a nostalgic mood. Niklas Salmose’s typology of nostalgic strategies will be used to draw out the nostalgia in these media, and an intermedial approach will be employed to investigate how they engage in nostalgic dialogue.

The anthology departs from the fundamental idea that the university is deeply connected to the ideal of «Bildung» and to democratic values. If the university should serve as an open space to develop democracy and to meet today’s social, cultural and ecological challenges, then one has to take into account the different disciplines’ approaches to education. Thus, the featured proposals on school and university education come from diverse research fields such as general education, media education, art and aesthetic education, philosophy, ethnology, sociology, performance art and gender.