Antonio Gramsci’s Concept of Hegemony
Antonio Gramsci’s concept of hegemony within cultural hegemony introduces the idea that the dominant group possesses the ability to influence and control society. Gramsci defines hegemony as the result of “constructing agreement through the expression of intellectuals within a public sphere where contrasting viewpoints are also expressed.” It can also be construed as asserting that the privileged and influential groups, often referred to as the “haves,” exert dominance over those less fortunate, the “have-nots.”
Following World War I, the United States experienced substantial transformations on a global scale, encompassing political, economic, social, and cultural dimensions. The 1920s, in particular, witnessed significant success in industrialism and business. These profound changes also led to the division of American society into two prevailing hegemonic groups: the wealthier or “moneyed” groups and the more aristocratic classes. These influential groups wielded authority over the general population.
The dominance of these two significant groups becomes evident in F. Scott Fitzgerald’s enduring American classic, The Great Gatsby. In the novel, Jay Gatsby, representing the affluent, resides in West Egg, while Tom Buchanan, embodying the aristocratic class, lives in East Egg. Tom consistently prevails due to his aristocratic background, characterized by prestige and high social status. Consequently, despite his exertions, Gatsby consistently needs to catch up when competing against Tom.
Nick Carraway’s Relocation and Introduction
The book recounts the narrative of Nick Carraway, who moves to New York during the summer of 1922 to acquire insight into the world of bond trading. He rents a residence in the West Egg region of Long Island, which is home to the recently prosperous but lacks social prestige. Jay Gatsby lives next door to Nick, who resides in a massive Gothic mansion and hosts extravagant Saturday night parties. Educated at Yale, Nick has social connections in East Egg, a stylish Long Island area inhabited by the established upper class. Nick, accompanied by his cousin Daisy Buchanan and her husband Tom, introduces Nick to Jordan Baker, a beautiful and cynical young woman with whom he begins a romantic relationship.
Gatsby confides in Jordan, revealing his deep love for Daisy, whom he knew in Louisville in 1917. Gatsby’s extravagant lifestyle and lavish parties attempt to win Daisy’s favor. He implores Nick to arrange a reunion with Daisy but fears her rejection if she learns of his enduring love.
Following an awkward meeting, Gatsby and Daisy rekindle their relationship and engage in an affair. Tom becomes increasingly suspicious of his wife’s connection with Gatsby, leading to a confrontational encounter at the Plaza Hotel in New York City. Tom claims a history with Daisy that Gatsby cannot comprehend and labels Gatsby as a criminal. Realizing her allegiance to Tom, Daisy returns to East Egg with Gatsby.
While traveling through the Valley of Ashes, Nick, Jordan, and Tom come across the aftermath of a tragic incident: Gatsby’s car collided with and fatally injured Myrtle, Tom’s paramour. They hurriedly return to Long Island, where Gatsby informs Nick that Daisy was at the wheel during the accident, but Gatsby plans to accept responsibility for it. Tom informs Myrtle’s husband, George, that Gatsby is the driver, resulting in George fatally shooting Gatsby. Nick arranges a modest funeral for Gatsby, ends his relationship with Jordan, and relocates to the Midwest to escape the disillusionment he feels toward the people in Gatsby’s life and the moral decay among the wealthy on the East Coast.
Initial Criticism of The Great Gatsby
When The Great Gatsby first came out, some critics contended that Fitzgerald’s work lacked significance due to its author being a young poet. In his book, The Twenties, Frederick J. Hoffman asserts that Fitzgerald’s writing unveils a story of youth in that era. He describes Fitzgerald as an integral part of this narrative, shaped by the societal norms of the 1920s. He suggests that Fitzgerald needed to fully harness the intellectual potential inherent in the youthful behavior of that time.
Hoffman’s viewpoint maintains that Jay Gatsby serves as a symbol of Fitzgerald’s chance to confront and learn from his youthful errors. However, he implies that this evaluation might be incomplete, as Fitzgerald, due to his youth, may not have been equipped to make such judgments. This critique highlights how the aristocratic American society, as exemplified by Hoffman, often valued the messenger of lessons and ideologies over the content of those doctrines. Because Fitzgerald was relatively young, they believed it was typical for young people to judge matters without fully comprehending their intricacies.
Hoffman’s dismissal of Fitzgerald’s work and the perspectives of younger generations can represent a society with autocratic tendencies, which tends to assess individuals’ capabilities based on their age. We challenge Hoffman’s perspective by contending that Fitzgerald’s work effectively signifies the achievement of a young American poet in critiquing the aristocratic American society of the 1920s.
Gatsby’s Economic Success and Tom’s View
While Jay Gatsby attains economic success, Tom Buchanan views him as unsuccessful. Tom’s perception is rooted in his belief that Gatsby is a Mr. Nobody from nowhere. Tom’s assertion underscores the unequal power dynamic between the aristocratic groups and the have-nots, as he regards Gatsby as inconsequential.
According to Tom, Gatsby’s success is diminished because he acquires his wealth through questionable means, whereas Tom accumulates his riches through legitimate, family-based business privileges. In the novel, the aristocratic groups expand their dominant influence by asserting that the have-nots are engaged in questionable enterprises and dismissing them as unimportant figures. Gatsby’s fixations on the products of a burgeoning industrial society accurately depict the cultural backdrop of the 1920s.
As Lynn Dumenil notes, characterizing the 1920s as modern involves recognizing that the foundational changes commenced in the late nineteenth century, marked by rapid industrialization, urban expansion, and substantial immigration. The rapid industrialization was epitomized by Henry Ford, the renowned American auto manufacturer, who earned the moniker The Ford Miracle for his exceptional success in producing and selling automobiles.
Like other trailblazers, Ford’s global achievements contributed to establishing the United States as the preeminent world economic power. The considerable success of industrialization enhanced the living standards of many Americans, although the white population predominantly enjoyed it. Conversely, most African Americans and other minority groups struggled with poverty and discrimination.
Beyond Business Culture
The impact of industrialization extended beyond forming a business-oriented society, evident in the inequalities between the lifestyles of the wealthy white majority and the isolated minority communities. Susan Currell challenges the conventional characterization of the 1920s as an era of apolitical individualism, business culture, hedonism, and political retreat. In contrast, she proposes that the era can be better understood as a time of cultural revival born from the uncertainty and unresolved conflicts surrounding notions of the past and the potential for the future.
Currell contends that the 1920s era was not solely defined by business and hedonism but, more significantly, by revitalizing American culture. Within her book American Culture in the 1920s, Currell delves into a range of cultural topics, encompassing subjects such as the decline of culture, machine-influenced culture, the scientific aspect of culture, the interplay between culture and science, culture as a form of therapy, the connections between culture and religion, culture and race, culture about the New Negro movement, and the role of women in shaping culture. She concludes that culture, with all its diversities, was the arena where remarkable revisions occurred. These notable adjustments are also evident in Fitzgerald’s The Great Gatsby, where he tells a story of the great Gatsby and the great America.
Currell initiates her cultural explanations by highlighting how American civilization began with cultural decline and culminated in significant readjustments. She argues that cultural experimentation was grounded in a flourishing optimism regarding the future and advancement before the war, but the war revealed the hollowness of this idealistic outlook. Currell posits that historically, the war compelled America to confront new challenges in both moral and industrial spheres. The growth of a business-focused society was connected with the increase in materialism, consumerism, a decline in moral values, and, in the end, widespread corruption. Moreover, the tremendous successes of industrialism led American society at the time towards materialistic values at the expense of personal moral values. Currell adds that the boom in business was fueled by advancements in new technologies and mass production methods, which raised concerns about human culture. During that period, mass production and a focus on material wealth led individuals to disregard the moral principles that underpin human society. It implies that the adverse consequences of significant industrialization in that era shaped personal moral values, causing people to adopt more self-centered, selfish, and materialistic lifestyles.
Influence of Industrialism and Business on Leisure Activities
During the 1920s, the surge in industrialism and business also influenced society’s leisure activities. In Middletown, Robert Lynd highlights how society has historically relished conversations, with much of its leisure time dedicated to talking and listening to talk. Lynd elaborates on how American society favored gatherings and discussions, often revolving around materialism and superficial subjects rather than delving into weightier topics such as politics. This inclination toward superficial conversations is likewise reflected in Fitzgerald’s narrative. For instance, during Nick’s visit to Daisy’s house for tea, Jordan gossiped about Tom’s mistress, Myrtle.
When Nick visits Myrtle’s apartment, Myrtle and her sister are engrossed in lively discussions about fashionable clothing while other guests enjoy drinks. At Gatsby’s residence, an enjoyable party is in full swing. When Gatsby reunites with his former love, Daisy, at Nick’s home, he displays his impressive possessions, ranging from his house and library to his exquisite clothing, prompting Daisy’s exclamation that they are such beautiful shirts. During Nick’s participation in the meeting at the Plaza Hotel, Daisy expresses her admiration for Gatsby, stating that he always looks so cool. These instances exemplify how the society of the 1920s, as portrayed in the novel, engaged in opulent and leisurely pastimes.
Struggles of the Wealthy vs. Aristocratic Class
In The Great Gatsby by Fitzgerald, the struggles of the wealthy group, embodied by Jay Gatsby, are effectively depicted as they vie against the aristocratic class, personified by Tom Buchanan. Tom consistently prevails due to his aristocratic lineage and esteemed family. As a result, Gatsby continually needs to improve in competing with Tom despite his unwavering efforts. Significantly, this novel provides insight into the opulent lifestyles of the hegemonic classes during the 1920s. These hegemonic groups lead lives filled with glamour and indulgence, thanks to the era’s thriving industrial and business activities.
By exploring the notions of hegemonic classes and supremacy within the narrative, we can better understand how the aristocratic elite wield more power than the less privileged groups. By following Gatsby’s hardships in the narrative, we also gain a more profound comprehension of the difficulties encountered by disadvantaged groups, not just within American society but in societies around the globe, as they strive to vie with the privileged upper classes. Fitzgerald’s The Great Gatsby effectively critiques how the aristocratic elite manipulate and control the less influential groups, including those with wealth. It underscores the relevance of Gramsci’s theory of hegemony in serving as a reminder of the fundamental principles of humanity and equality, regardless of social legacies and disparities.
Bibliography
- Curnutt, K. (2015). Prologues to the Past: On Introductions and Appreciations. The F. Scott Fitzgerald Review, 13(1), 278–291.
- Currell, S. (2009). American Culture in the 1920s. Edinburgh University Press.
- Denner, Y. (2009). The 1920s are often called the Jazz Age. To what extent did the novels and the lifestyle of F. Scott Fitzgerald reflect or define this label?. University of New South Wales, Sydney.
- Hoffman, F. J. (1962). The twenties: American writing in the postwar decade.
- Lynd, R. S., & Lynd, H. M. (1929). A study of modern American culture. New York: Harcourt.
- Ramos, V. (1982). The Concepts of Ideology, Hegemony, and Organic Intellectuals in Gramsci’s Marxism. Theoretical Review, 27.