Archival Evidence
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==Globalization== | ==Globalization== | ||
| + | In both ''The Dial'' and ''The Criterion'', evidence of globalization and cross-cultural receptivity abounds. This is more evident in ''The Dial'', especially upon inspection of its advertisements. Though the collaborators were surprised not to find any ads juxtaposed alongside text, ''The Dial'' instead 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. 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. | ||
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| + | ''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. 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 publicizes. | ||
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The Waste Land is accompanied by several contributions from around the world in both magazines. This is a concrete example of the globalization that began as a result of WWI. Soldiers have traveled overseas, have seen places for themselves. | The Waste Land is accompanied by several contributions from around the world in both magazines. This is a concrete example of the globalization that began as a result of WWI. Soldiers have traveled overseas, have seen places for themselves. | ||
There is an increased aesthetic interest in global commodities. | There is an increased aesthetic interest in global commodities. | ||
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Both the USA and Britain had been collaborating as Allies at the end of the war, but now there is further international collaboration evident in these magazines. For example, in the Dial, there are multiple German contributors, including Schnitzler, whose novel ''Doctor Graesler'' was translated from German into English for this publication. | Both the USA and Britain had been collaborating as Allies at the end of the war, but now there is further international collaboration evident in these magazines. For example, in the Dial, there are multiple German contributors, including Schnitzler, whose novel ''Doctor Graesler'' was translated from German into English for this publication. | ||
Additional contributors: Constantin Brancusi- scultper, born in Romania, living in Paris Robert Delaunay - born in Paris in 1887, influenced by Russeau Elie Faure - author of The History of Art, reviewed by Thomas Craven in Feb 1922 issue of The Dial. In this issue, Faure replies to Craven's criticism. Duncan Grant - born in Scottish highlands. Adolph Dehn - living in Germany and Austria Sebastien Cauiflower - American. | Additional contributors: Constantin Brancusi- scultper, born in Romania, living in Paris Robert Delaunay - born in Paris in 1887, influenced by Russeau Elie Faure - author of The History of Art, reviewed by Thomas Craven in Feb 1922 issue of The Dial. In this issue, Faure replies to Craven's criticism. Duncan Grant - born in Scottish highlands. Adolph Dehn - living in Germany and Austria Sebastien Cauiflower - American. | ||
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==Thematic Coherence== | ==Thematic Coherence== | ||
