Archival Evidence
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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. | 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. | ||
| − | ''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, | + | ''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 publicized. |
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 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. | 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 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. | ||
