Allusions in Context
From The Waste Land Wiki
(→Looking at Allusions with Gephi) |
(→Looking at Allusions with Gephi) |
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| − | ''Network D: Religion in The Criterion, The Dial, and “The Wasteland”'' | + | ''Network D: Religion in ''The Criterion'', ''The Dial'', and “The Wasteland”'' |
http://farm9.staticflickr.com/8217/8261066290_2e88c311c4_c.jpg | http://farm9.staticflickr.com/8217/8261066290_2e88c311c4_c.jpg | ||
| − | This network clearly shows that pieces in The Dial bring Egyptian mythology and more Greek mythology, on top of Christianity, to the picture, but The Criterion only contributes Christian allusions. It follows that mysticism and Buddhism are referred to exclusively in “The Wasteland.” Out of all the authors contributing to both magazines, Eliot must intend to stretch his readers’ minds the most, which he does by subtly forcing them to think about a wider variety of religions—just by mentioning and alluding to them—than his contemporary contributors do. This is also a comment on the universality of the point Eliot means to make. The First World War was a universal event, and everyone, from all backgrounds including religious traditions, suffered from it. By alluding to an array of religions, Eliot is able to catalogue this universal event in a universal way. His method complements his intention. | + | This network clearly shows that pieces in ''The Dial'' bring Egyptian mythology and more Greek mythology, on top of Christianity, to the picture, but ''The Criterion'' only contributes Christian allusions. It follows that mysticism and Buddhism are referred to exclusively in “The Wasteland.” Out of all the authors contributing to both magazines, Eliot must intend to stretch his readers’ minds the most, which he does by subtly forcing them to think about a wider variety of religions—just by mentioning and alluding to them—than his contemporary contributors do. This is also a comment on the universality of the point Eliot means to make. The First World War was a universal event, and everyone, from all backgrounds including religious traditions, suffered from it. By alluding to an array of religions, Eliot is able to catalogue this universal event in a universal way. His method complements his intention. |
Looking back at Network C, the most frequent category besides religion is “person.” (Recall that in “The Wasteland” the top three categories were religion, place, and literature.) It is interesting that the magazines have one “most frequent” category of allusions in common with “The Wasteland” but their other “most frequents” differ. This may have to do with the purpose of the pieces represented in each network. Names of people are often the most recognizable items in the catalogues of history, which renders it unsurprising that overall, people are some of the most referred-to “items” across the corpus of the October/November 1922 issues. Whether to consult an authority on a philosophical topic in an essay on modern poetry, or to call to mind a specific English poet, the contributing authors of the two magazines are able to generate for readers a certain level of comfort with their text by calling upon the familiarity of real people their readers have already heard of. | Looking back at Network C, the most frequent category besides religion is “person.” (Recall that in “The Wasteland” the top three categories were religion, place, and literature.) It is interesting that the magazines have one “most frequent” category of allusions in common with “The Wasteland” but their other “most frequents” differ. This may have to do with the purpose of the pieces represented in each network. Names of people are often the most recognizable items in the catalogues of history, which renders it unsurprising that overall, people are some of the most referred-to “items” across the corpus of the October/November 1922 issues. Whether to consult an authority on a philosophical topic in an essay on modern poetry, or to call to mind a specific English poet, the contributing authors of the two magazines are able to generate for readers a certain level of comfort with their text by calling upon the familiarity of real people their readers have already heard of. | ||
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| − | ''Network E: Allusions in The Criterion, The Dial, and “The Wasteland”'' | + | ''Network E: Allusions in ''The Criterion'', ''The Dial'', and “The Wasteland”'' |
http://farm9.staticflickr.com/8490/8254319094_89c650a81d_c.jpg | http://farm9.staticflickr.com/8490/8254319094_89c650a81d_c.jpg | ||
| − | Network E is a conglomeration of Networks A and C. Although this network looks overwhelming because of how large it is, it should be manageable based on prior exposure to the other networks. In this one, the pieces from the magazines are lined up at the top, the sections of the poem are listed down the right side, the names of the sources are on the left side, and the categories of allusions are along the bottom of the image. The cluster of things referred to in the middle is organized only so far as necessary to make the nodes mostly legible. My intent with this graph is mainly to show the potential a network graph has for making a large amount of information—135 rows by four columns of input in Excel—visible quickly. Indeed, this network is much less cumbersome than my pages of notes from which I extracted the node names and relationships. It sums up the premise of this project concisely: the way allusions are used in “The Wasteland” and the other pieces that were published alongside it in The Dial and The Criterion in 1922 are related in a significant way, and technology like Gephi can help make it possible to literally see where the connections are. | + | Network E is a conglomeration of Networks A and C. Although this network looks overwhelming because of how large it is, it should be manageable based on prior exposure to the other networks. In this one, the pieces from the magazines are lined up at the top, the sections of the poem are listed down the right side, the names of the sources are on the left side, and the categories of allusions are along the bottom of the image. The cluster of things referred to in the middle is organized only so far as necessary to make the nodes mostly legible. My intent with this graph is mainly to show the potential a network graph has for making a large amount of information—135 rows by four columns of input in Excel—visible quickly. Indeed, this network is much less cumbersome than my pages of notes from which I extracted the node names and relationships. It sums up the premise of this project concisely: the way allusions are used in “The Wasteland” and the other pieces that were published alongside it in ''The Dial'' and ''The Criterion'' in 1922 are related in a significant way, and technology like Gephi can help make it possible to literally see where the connections are. |
