Allusions in Context
From The Waste Land Wiki
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(→Looking at Allusions with Gephi) |
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As with any data-displaying system, subjective decisions have to be made about how to categorize the data and what counts as relevant information at all. I have decided for simplicity’s sake to consider only one degree of allusion in the graphs. For example, when a certain piece of literature is alluded to, its author is also indirectly implied, but I have chosen to include only the name of the literary work itself. | As with any data-displaying system, subjective decisions have to be made about how to categorize the data and what counts as relevant information at all. I have decided for simplicity’s sake to consider only one degree of allusion in the graphs. For example, when a certain piece of literature is alluded to, its author is also indirectly implied, but I have chosen to include only the name of the literary work itself. | ||
| − | In the networks included on this page, the points on the graph, or nodes, are organized based on the “thing referred to.” For example, in The Player Queen by W.B. Yeats, found in The Dial, one character mentions that “my saviour was content with a stable,” which alludes to the birth of Jesus, so the allusion appears as a node called “Nativity.” From the alluded-to nodes come a variety of lines, or edges, that connect them to nodes with information about their Location (what piece from the magazine they come from, or what section of “The Wasteland” they come from), their Source (Dial, Criterion, or “Wasteland”), and what type of allusion it is (place, religion, literature, etc.). By moving the nodes around to see where their connecting edges are pulled, patterns start to emerge. | + | In the networks included on this page, the points on the graph, or nodes, are organized based on the “thing referred to.” For example, in The Player Queen by W.B. Yeats, found in ''The Dial'', one character mentions that “my saviour was content with a stable,” which alludes to the birth of Jesus, so the allusion appears as a node called “Nativity.” From the alluded-to nodes come a variety of lines, or edges, that connect them to nodes with information about their Location (what piece from the magazine they come from, or what section of “The Wasteland” they come from), their Source (''Dial'', ''Criterion'', or “Wasteland”), and what type of allusion it is (place, religion, literature, etc.). By moving the nodes around to see where their connecting edges are pulled, patterns start to emerge. |
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| − | ''Network C: Allusions in other pieces from The Criterion and The Dial from October/November 1922'' | + | ''Network C: Allusions in other pieces from ''The Criterion'' and ''The Dial'' from October/November 1922'' |
http://farm9.staticflickr.com/8493/8253245137_dcb6da44ce_c.jpg | http://farm9.staticflickr.com/8493/8253245137_dcb6da44ce_c.jpg | ||
| − | Moving forward, Network C shows what the allusions from the content in the rest of The Criterion and The Dial look like. It is laid out similarly to Network A: the types of allusions are spread across the top of the image, with the two magazines’ names at the bottom, and the names of the pieces within the magazines on the right side of the image. As in “The Wasteland,” religion is one of the most common categories of allusions in the two magazines. Network D exhibits the relationship between the different types of religious allusions from all three sources. | + | Moving forward, Network C shows what the allusions from the content in the rest of ''The Criterion'' and ''The Dial'' look like. It is laid out similarly to Network A: the types of allusions are spread across the top of the image, with the two magazines’ names at the bottom, and the names of the pieces within the magazines on the right side of the image. As in “The Wasteland,” religion is one of the most common categories of allusions in the two magazines. Network D exhibits the relationship between the different types of religious allusions from all three sources. |
