The price of modernism: reconsidering the publication of <i>The Waste Land</i>

Rainey, Lawrence

doi:10.1111/j.1467-8705.1989.tb00372.x

Cited by 8 publications

(3 citation statements)

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“…Eliot was no slouch either when it came to orchestrating The Waste Land's launch (Rainey, 1989). With Pound's connivance, he nobbled reviewers, negotiated a lucrative literary award in a high-profile journal and, when the poem was finally published in book form, he appended a set of extraneous explanatory notes.…”

Section: In For a Pennymentioning

confidence: 99%

“…Paradoxical principle 2: back to the Futurists Eliot's controversial notes to The Waste Land may have been a marketing stunt, as Rainey (1989) suggests, or they may have represented an attempt, at the behest of his American publishers, to pad a 20-page, 400-line poem out to proper book length (Delany, 2002). Regardless of the reasons for his eye-catching appendage, it sent readers off on a "wild grail quest" (Sharpe, 1991, p. 90).…”

Section: In For a Pennymentioning

confidence: 99%

“…Prohibition is a pathway to profitability. The banning of Ulysses was the making of it, in marketing terms anyhow (Rainey, 1989). When the "Nausikaa" episode was published in the August 1920 issue of The Little Review, it was seized by the authorities and destroyed.…”

Section: Paradoxical Principle 5: Virtuous Vulgaritymentioning

confidence: 99%

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Brands on a wet, black bough: marketing the masterworks of modernism

Brown

2015

Arts and the Market

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Article information:To cite this document:Stephen Brown , (2015),"Brands on a wet, black bough: marketing the masterworks of modernism", Arts and the Market, Vol. 5 Iss 1 pp. 5 -24 Permanent link to this document: http://dx.If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.comEmerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services.Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation. AbstractPurpose -In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture's supreme exponents were commercially minded masters of marketing. Design/methodology/approach -Historically situated, the paper adopts a biographical approach to the making of modernism's literary masterworks. It focuses on Ezra Pound, T.S. Eliot and James Joyce, who were responsible for the modernist classics, Ulysses and The Waste Land. Findings -The analysis identifies five fundamental marketing principles that appear paradoxical from a traditional, customer-centric standpoint, yet are in accord with latter-day, post-Kotlerite conceptualisations. The marketing of modernism did not rely on "modern" marketing. Practical implications -If, at the height of the anti-bourgeois modernist movement, the "great divide" between elite and popular culture was bridged by marketing, there is no reason why contemporary culture and commerce cannot collaborate, co-operate, co-exist, coalesce. Originality/value -The paper complements prior studies of "painterpreneurs", by drawing attention to the marketing of literary masterworks.

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Section: In For a Pennymentioning

confidence: 99%

Section: In For a Pennymentioning

confidence: 99%