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McLuhan, or modernism in reverse

作者: Glenn Willmott
出版商: Toronto ; Buffalo : University of Toronto Press, ©1996.
版本/格式:   圖書 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
Our lives are increasingly dominated by new forms of image, sound, data, and language media. Marshall McLuhan called this new order of things the Global Village, and he strove to be true to it as the media-popular 'McLuhan.' Having little use for traditional critical forms or values, and courting instead the discourses of popular culture and big business, McLuhan displayed the authentic, ambivalent place of critical
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其他的實體格式: Online version:
Willmott, Glenn, 1963-
McLuhan, or modernism in reverse.
Toronto ; Buffalo : University of Toronto Press, ©1996
(OCoLC)604362036
提及的人: Marshall McLuhan; Marshall McLuhan; Marshall McLuhan; Marshall McLuhan; Marshall McLuhan
文件類型: 圖書
所有的作者/貢獻者: Glenn Willmott
ISBN: 0802008011 9780802008015 0802071635 9780802071637
OCLC系統控制編碼: 34952668
描述: xv, 262 pages ; 24 cm
内容: Introduction: McLuhan's Medium --
1. The Art of Criticism --
2. The Art of Montage --
3. Symbolic Reversals --
4. The Art of Politics --
5. Technological Reversals --
6. The Modern Primitive --
7. The Postmodern Mask --
8. The Postmodern Medium --
9. Being There --
Conclusion: McLuhan's Message.
責任: Glenn Willmott.
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McLuhan, or Modernism in Reverse thus aims to retrace and synthesize McLuhan's work in order to illuminate his unexpected meaning and value for critical practice today.  再讀一些...

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schema:description"He re-evaluates McLuhan as a thinker and writer who moved along the borders of academic and popular culture, and locates him as an integral presence in the history of modern critical thought. The book is divided into two parts, representing modern and postmodern periods. Willmott examines McLuhan's relationship to critical and aesthetic modernism, and political and historical sense of modernity in North America, from the early 1930s to the 1950s. This relationship led McLuhan to articulate and practise what Willmott calls a 'modernism in reverse.' Willmott examines the postmodern practice of this critical aesthetic, from the 1950s to the 1970s, which entailed McLuhan's self-commodification in art, business, and popular culture."@en
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