Reviewed Study on Cognitive Radio Techniques and Communication between Licensed and Unlicensed Users | Original Article

ABSTRACT:

This study investigates the role of 1920s and 1930s mainstream short stories of F. Scott Fitzgerald. By arranging Fitzgerald's work with regards to the short story as a class, I consider the innovator highlights of his short fiction in connection to short-story cycles by James Joyce, Sherwood Anderson, and Ernest Hemingway. I contend that Fitzgerald's lyrical style can be beguiling, and his stories are frequently increasingly experimental, even rebellious, than regularly perceived. This study contends that it is in Fitzgerald's unobtrusive utilization of ambiguity and parody that these experimental parts of his fiction regularly show themselves. Perusing the short fiction with the end goal of explaining this parodic mode, and accordingly investigating Fitzgerald's social and cultural critique, we experience Fitzgerald parodying the two his own invented qualities and his prior stories, which reveals new insight into his as often as possible scornful comments about the estimation of his magazine fiction. As ambiguity and parody are key highlights of African American cultural practices of the period, the study likewise rethinks Fitzgerald's engagement with primitivist modernism, offering a more extensive point of view on how he explored between his roles as literary novelist and prominent short-storyist. Prevalent cultural references in Fitzgerald's short fiction don't just fill in as transient markers or to give picturesque tone, however frequently work rebelliously, to destabilize our desires for a business Fitzgerald story while sitting in strain with Fitzgerald's lyrical composition style. Themes of mask and identity are of fundamental significance to Fitzgerald's literary modernism, and his utilization of these cultural media, revolved around the idea of execution and recreation, show Fitzgerald unobtrusively subverting our desires for his short fiction.