LEADER 04436nam 2200757 450 001 9910456186703321 005 20200520144314.0 010 $a1-282-00823-4 010 $a9786612008238 010 $a1-4426-7714-7 024 7 $a10.3138/9781442677142 035 $a(CKB)2430000000000803 035 $a(OCoLC)244766353 035 $a(CaPaEBR)ebrary10195465 035 $a(SSID)ssj0000302801 035 $a(PQKBManifestationID)12134470 035 $a(PQKBTitleCode)TC0000302801 035 $a(PQKBWorkID)10274950 035 $a(PQKB)11458015 035 $a(CaPaEBR)417629 035 $a(CaBNvSL)thg00600141 035 $a(MiAaPQ)EBC3250359 035 $a(MiAaPQ)EBC4671716 035 $a(DE-B1597)464645 035 $a(OCoLC)944177946 035 $a(DE-B1597)9781442677142 035 $a(Au-PeEL)EBL4671716 035 $a(CaPaEBR)ebr11257416 035 $a(OCoLC)958565068 035 $a(EXLCZ)992430000000000803 100 $a20160921h19961996 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMcLuhan, or modernism in reverse /$fGlenn Willmott 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d1996. 210 4$dİ1996 215 $a1 online resource (279 p.) 225 0 $aTheory / Culture 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8020-7163-5 311 $a0-8020-0801-1 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tACKNOWLEDGMENTS -- $tINTRODUCTION: McLuhan's Medium -- $t1. The Art of Criticism -- $t2. The Art of Montage -- $t3. Symbolic Reversals -- $t4. The Art of Politics -- $t5. Technological Reversals -- $t6. The Modern Primitive -- $t7. The Postmodern Mask -- $t8. The Postmodern Medium -- $t9. Being There -- $tCONCLUSION: McLuhan's Message -- $tNOTES -- $tWORKS CITED -- $tINDEX 330 $aOur lives are increasingly dominated by new forms of image, sound, data, and language media. Marshall McLuhan called this new order of things the Global Village, and he strove to be true to it as the media-popular `McLuhan.' Having little use for traditional critical forms or values, and courting instead the discourses of popular culture and big business, McLuhan displayed the authentic, ambivalent place of critical self-reflection in our media-centred world. McLuhan, according to Willmott, must be understood as a vital link in a generation of modern and postmodern critics, one who extracted modernist forms and values from the deconstructions of postmodern culture, and one who forced into public view the emergence of the critical intellectual as `being-in-media.' Willmott's book fills the need for a first critical, historical, and theoretical re-reading of McLuhan's literary and cultural projects. He re-evaluates McLuhan as a thinker and writer who moved along the borders of academic and popular culture, and locates him as an integral presence in the history of modern critical thought. The book is divided into two parts, representing modern and postmodern periods. Willmott examines McLuhan's relationship to critical and aesthetic modernism, and political and historical sense of modernity in North America, from the early 1930s to the 1950s. This relationship led McLuhan to articulate and practise what Willmott calls a `modernism in reverse.' Willmott examines the postmodern practice of this critical aesthetic, from the 1950s to the 1970s, which entailed McLuhan's self-commodification in art, business, and popular culture. McLuhan, or Modernism in Reverse thus aims to retrace and synthesize McLuhan's work in order to illuminate his unexpected meaning and value for critical practice today. 410 0$aTheory/culture 606 $aMass media$xPhilosophy 606 $aMass media criticism 606 $aModernism (Aesthetics) 606 $aPostmodernism 608 $aElectronic books. 615 0$aMass media$xPhilosophy. 615 0$aMass media criticism. 615 0$aModernism (Aesthetics) 615 0$aPostmodernism. 676 $a302.23/01 700 $aWillmott$b Glenn$f1963-$0919275 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456186703321 996 $aMcLuhan, or modernism in reverse$92482015 997 $aUNINA