Archival Evidence
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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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| + | In both The Dial and The Criterion, evidence of globalization and cross-cultural receptivity abounds. This is more evident in The Dial than any other place, 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 readership. | ||
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| + | The Dial's advertisements also reveal multicultural intrigue, though 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. | ||
==Surprising Content== | ==Surprising Content== | ||
We are surprised to have found some of the things that are in the Dial in an American publication in in 1922. To name a few: | We are surprised to have found some of the things that are in the Dial in an American publication in in 1922. To name a few: | ||
Adolf Dehn's "Drinkers" - a painting of alcoholic beverages and their consumption. In 1922, Prohibition was still in effect in the United States. We were surprised that a literary magazine that is geared toward intellectuals would contain content that depicts something illegal. | Adolf Dehn's "Drinkers" - a painting of alcoholic beverages and their consumption. In 1922, Prohibition was still in effect in the United States. We were surprised that a literary magazine that is geared toward intellectuals would contain content that depicts something illegal. | ||
