We all talk about the "tube" or "box," as if television were simply another appliance like the refrigerator or toaster oven. But Cecilia Tichi argues that TV is actually an environment—a pervasive screen-world that saturates almost every aspect of modern life. In Electronic Hearth, she looks at how that environment evolved, and how it, in turn, has shaped the American experience.
Tichi explores almost fifty years of writing about television—in novels, cartoons, journalism, advertising, and critical books and articles—to define the role of television in the American consciousness. She examines early TV advertising to show how the industry tried to position the new device as not just a gadget but a prestigious new piece of furniture, a highly prized addition to the home. The television set, she writes, has emerged as a new electronic hearth—the center of family activity. John Updike described this "primitive appeal of the hearth" in Roger's Version: "Television is—its irresistible charm—a fire. Entering an empty room, we turn it on, and a talking face flares into being." Sitting in front of the TV, Americans exist in a safety zone, free from the hostility and violence of the outside world. She also discusses long-standing suspicions of TV viewing: its often solitary, almost autoerotic character, its supposed numbing of the minds and imagination of children, and assertions that watching television drugs the minds of Americans. Television has been seen as treacherous territory for public figures, from generals to presidents, where satire and broadcast journalism often deflate their authority. And the print culture of journalism and book publishing has waged a decades-long war of survival against it—only to see new TV generations embrace both the box and the book as a part of their cultural world. In today's culture, she writes, we have become "teleconscious"—seeing, for example, real life being certified through television ("as seen on TV"), and television constantly ratified through its universal presence in art, movies, music, comic strips, fabric prints, and even references to TV on TV.
Ranging far beyond the bounds of the broadcast industry, Tichi provides a history of contemporary American culture, a culture defined by the television environment. Intensively researched and insightfully written, The Electronic Hearth offers a new understanding of a critical, but much-maligned, aspect of modern life.

Here is the fiery, provocative, and unparalleled work of feminist art criticism that launched Camille Paglia’s exceptional career as one of our most important public intellectuals. Is Emily Dickinson “the female Sade”? Is Donatello’s David a bit of pedophile pornography? What is the secret kinship between Byron and Elvis Presley, between Medusa and Madonna? How do liberals and feminists—as well as conservatives—fatally misread human nature? This audacious and omnivorously learned work of guerrilla scholarship offers nothing less than a unified-field theory of Western culture, high and low, since Egyptians invented beauty—making a persuasive case for all art as a pagan battleground between male and female, form and chaos, civilization and daemonic nature.

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The personal computer has revolutionized communication, and digitized text has introduced a radically new medium of expression. Interactive, volatile, mixing word and image, the electronic word challenges our assumptions about the shape of culture itself.

This highly acclaimed collection of Richard Lanham's witty, provocative, and engaging essays surveys the effects of electronic text on the arts and letters. Lanham explores how electronic text fulfills the expressive agenda of twentieth-century visual art and music, revolutionizes the curriculum, democratizes the instruments of art, and poses anew the cultural accountability of humanism itself.

Persuading us with uncommon grace and power that the move from book to screen gives cause for optimism, not despair, Lanham proclaims that "electronic expression has come not to destroy the Western arts but to fulfill them."

The Electronic Word is also available as a Chicago Expanded Book for your Macintosh®. This hypertext edition allows readers to move freely through the text, marking "pages," annotating passages, searching words and phrases, and immediately accessing annotations, which have been enhanced for this edition. In a special prefatory essay, Lanham introduces the features of this electronic edition and gives a vividly applied critique of this dynamic new edition.

Language - in its communicative and playful functions, its literary formations and its shifting meanings - is a perennially fascinating topic. C. S. Lewis's Studies in Words explores this fascination by taking a series of words and teasing out their connotations using examples from a vast range of English literature, recovering lost meanings and analysing their functions. It doubles as an absorbing and entertaining study of verbal communication, its pleasures and problems. The issues revealed are essential to all who read and communicate thoughtfully, and are handled here by a masterful exponent and analyst of the English language.

A rich exploration of the possibilities of representation after Modernism, Mark Taylor's new study charts the logic and continuity of Mark Tansey's painting by considering the philosophical ideas behind Tansey's art. Taylor examines how Tansey uses structuralist and poststructuralist thought as well as catastrophe, chaos, and complexity theory to create paintings that please the eye while provoking the mind. Taylor's clear accounts of thinkers ranging from Plato, Kant, and Hegel to Merleau-Ponty, Derrida, and de Man will be an invaluable contribution to students and teachers of art.

Professor Miller has provided one of the most comprehensive collections of primary source material available for the study of Chaucer's work. These selections are drawn from works which Chaucer is known to have used

This Norton Critical Edition provides a wide selection of Erasmus’s writings, translated from the Latin into fresh, modern English.Besides the celebrated Praise of Folly, Robert M. Adams has included the political "Complaint of Peace," the brutal antipapal satire "Julius Excluded from Heaven," two versions of Erasmus’s important preface to the Latin translation of the New Testament, and a selection both serious and comic of his Colloquies and his letters.  Adams has made these selections to emphasize the humane, rather than the doctrinaire, side of the first and arguably greatest humanist.

Critical commentary is provided in essays by H. R. Trevor-Roper, R. S. Allen, J. Huizinga, Mikhail Bakhtin, Paul Oskar Kristeller, and Robert M. Adams.

Also included are a Chronology of Erasmus’s life and a Selected Bibliography.

Book by Sullivan, Walter

Worldmaking Spenser reexamines the role of Spenser's work in English history and highlights the richness and complexity of his understanding of place. The volume centers on the idea that complex and allusive literary works such as The Faerie Queene must be read in the context of the cultural, literary, political, economic, and ideological forces at play in the highly allegorical poem. The authors define Spenser as the maker of poetic worlds, of the Elizabethan world, and of the modern world. The essays look at Spenser from three distinct vantage points. The contributors explore his literary origins in classical, medieval, and Renaissance continental writings and his influences on sixteenth-century culture. Spenser also had a great impact on later literary figures, including Lady Mary Wroth and Aemilia Lanyer, two of the seventeenth century's most important writers. The authors address the full range of Spenser's work, both long and short poetry as well as prose. The essays unequivocally demonstrate that Spenser occupies a substantial place in a seminal era in English history and European culture.

Harold Bloom's The Anxiety of Influence has cast its own long shadow of influence since it was first published in 1973. Through an insightful study of Romantic poets, Bloom puts forth his central vision of the relations between tradition and the individual artist. Although Bloom was never the leader of any critical "camp," his argument that all literary texts are a response to those that precede them had an enormous impact on the practice of deconstruction and poststructuralist literary theory in this country. The book remains a central work of criticism for all students of literature and has sold over 17,000 copies in paperback since 1984. Written in a moving personal style, anchored by concrete examples, and memorably quotable, Bloom's book maintains that the anxiety of influence cannot be evaded—neither by poets nor by responsible readers and critics.
This second edition contains a new Introduction, which explains the genesis of Bloom's thinking and the subsequent influence of the book on literary criticism of the past twenty years.criticism of the past twenty years. Here, Bloom asserts that the anxiety of influence comes out of a complex act of strong misreading, a creative interpretation he calls "poetic misprision." The influence-anxiety does not so much concern the forerunner but rather is an anxiety achieved in and by the story, novel, play, poem, or essay. In other words, without Keats's reading of Shakespeare, Milton, and Wordsworth, we could not have Keats's odes and sonnets and his two Hyperions.
Given the enormous attention generated by Bloom's controversial The Western Canon, this new edition is certain to find a readymade audience among the new generation of scholars, students, and layreaders interested in the Bloom cannon.

The English Romantic period―when, as Wordsworth wrote, "the whole earth/The beauty wore of promise"―was also a time in which many of our contemporary attitudes, conventions, and institutions originated. The present book explores, in fascinating depth, the context given by human beings of the time to what its writers called "the spirit of the age."

Professor Gaull begins her survey with a section entitled" The Human Context," in which she explores the literary marketplace, children's literature and education, the theater, economics, and the idea of the hero. In the next group of chapters, generally titled "The Illusion of History," she investigates how the Romantics invented the past, studied natural history and its illusion, and created the ideas of the gothic and of the bards. her final section is "The Experimental Arts," with chapters studying the age's poetry, painting, and science.

Within each of the chapters the Romantic figures most appropriate to those chapters are treated in detail―as, for example, Byron and Byronism in "Heros and Heroism." Professor Guall's original research and infectious style make this book the ideal, if not necessary, companion in courses on the Romantic poets or in intellectual history.