Archival Evidence
From The Waste Land Wiki
(→Allusions in Context) |
Hope Forsyth (Talk | contribs) (→Globalization) |
||
| Line 18: | Line 18: | ||
The editorial differences between ''The Dial'' and ''The Criterion'' are enshrouded in further mystery. In ''The Dial'', there is an epigraph for the poem that relays dialogue taken from the ''Satyricon'' (Eliot 373). For some reason, this part of the poem was completely deleted from ''The Criterion'' (Eliot 50). Of course, a structure of the poem that was deleted in ''The Dial'''s edition is the enumeration of specific sections (ie. A Game of Chess I). Similarly, the American editor italicized any usage of foreign language in the poem; however, ''The Criterion'' maintains a regular font for any European language utilized by Eliot. There is no explanation or admittance of these variances in the text. | The editorial differences between ''The Dial'' and ''The Criterion'' are enshrouded in further mystery. In ''The Dial'', there is an epigraph for the poem that relays dialogue taken from the ''Satyricon'' (Eliot 373). For some reason, this part of the poem was completely deleted from ''The Criterion'' (Eliot 50). Of course, a structure of the poem that was deleted in ''The Dial'''s edition is the enumeration of specific sections (ie. A Game of Chess I). Similarly, the American editor italicized any usage of foreign language in the poem; however, ''The Criterion'' maintains a regular font for any European language utilized by Eliot. There is no explanation or admittance of these variances in the text. | ||
| − | == | + | ==Internationality== |
| − | In both ''The Dial'' and ''The Criterion'', evidence of globalization and cross-cultural receptivity abounds. | + | In both ''The Dial'' and ''The Criterion'', evidence of globalization and cross-cultural receptivity abounds. This marks a fascination with the globalization that began as a result of WWI. Soldiers had traveled abroad and seen alternative forms of society function. Not only was there an increased aesthetic interest in global commodities, but these magazines indicate that there was an incresed interest in intellectual diversity. For example, in ''The Dial'', there are multiple European contributors, including Austrian author, Arthur Schnitzler, whose novel ''Doctor Graesler'' was translated from German into English for this publication. Other contributors to the New York magazine were either European, or were Americans relocated to Europe. Robert Delaunay was the French artist, whose modern-gothic painting is reproduced beside ''The Dial'''s debut of "The Waste Land" (Delaunay 472). Delaunay was an avant-gard, Orphism artist, thus, the selection by editors to include his art within ''The Dial'' is in keeping with the culture of curiosity demonstrated by the New York readership. |
| − | ''The Dial'''s | + | ==Advertising in ''The Criterion'' and ''The Dial''== |
| + | ''The Dial's'' advertising provides contextual insight to the bibliography of ''The Waste Land's'' American debut. Instead of juxtaposing advertising alongside text, ''The Dial'' allocated primary and secondary sections--at the front and back of the periodical respectively--for commercial bulletins. In the first section of advertisements that precedes the literary text, the editor installed ads for literary publishers of modernist books and a magazine (''The Dial'' I-XVI). It is clear that ''The Dial'' specifically targeted a bibliophile audience, as the majority of all the periodical's ads cater to an intellectual and spatial readership. | ||
| − | + | ''The Dial'''s advertisements reveal multicultural intrigue, albeit, from a safe distance. In the supplementary section of advertisements there is evidence of a great deal of upper-class marketing. Solicitors invite readers to Oriental rug wholesalers, jewelry dealers, Russian tea rooms, Spanish themed vacations, patronage to The Plaza hotel in New York and Boston, and to purchase multi-volume literary collections from such venerated authors as Mark Twain and Joseph Conrad (''The Dial'' XVI-XXXII). Though the advertisements do suggest a post-war fascination with the exotic, they also implicate intellectual and societal elitism. One may inquire whether the "worldly" audience could have included the minorities it so fancifully publicized. | |
==Thematic Coherence== | ==Thematic Coherence== | ||
