Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-26T02:40:42.170Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  19 December 2019

Heike Schaefer
Heike Schaefer
Affiliation:
University of Education Karlsuhe
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
American Literature and Immediacy
Literary Innovation and the Emergence of Photography, Film, and Television
 , pp. 278 - 306
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abel, Richard. “The Cinema of Attractions in France, 1896–1904.” Grieveson, and Krämer, , 2007, pp. 63–75.Google Scholar
Abrams, Meyer Howard. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Norton, 1958.Google Scholar
Abramson, Albert. “The Invention of Television.” Smith, and Paterson, , 1998, pp. 9–22.Google Scholar
Abramson, Albert. The History of Television, 1942 to 2000. McFarland, 2003.Google Scholar
Adler, Richard. “Understanding Television: An Overview of the Literature of the Medium as a Social and Cultural Force.” Television as a Social Force: New Approaches to TV Criticism, edited by Adler, Richard and Cater, Douglass, Praeger, 1974, pp. 23–47.Google Scholar
Allen, Craig. “Television News.” Blanchard, , 1998, pp. 647–51.Google Scholar
Allen, Gay Wilson. “The Iconography of Walt Whitman.” The Artistic Legacy of Walt Whitman, edited by Miller, Edwin Haviland, New York University Press, 1970, pp. 127–52.Google Scholar
Allen, Gay. The New Walt Whitman Handbook. New York University Press, 1975.Google Scholar
Allen, Jeanne. “The Social Matrix of Television: Invention in the United States.” Kaplan, , 1983, pp. 109–19.Google Scholar
Allen, Robert C. “Audience-Oriented Criticism and Television.” Allen, , 1992, Channels of Discourse, pp. 101–37.Google Scholar
Allen, Robert C., editor. Channels of Discourse Reassembled: Television and Contemporary Criticism. Routledge, 1992.Google Scholar
AlSayyad, Nezar. Cinematic Urbanism: A History of the Modern from Reel to Real. Routledge, 2006.Google Scholar
Anderson, Carolyn. “Film and Literature.” Film and the Arts in Symbiosis: A Resource Guide, edited by Edgerton, Gary R., Greenwood, 1988, pp. 97–134.Google Scholar
Anderson, Joseph and Anderson, Barbara. “The Myth of Persistence of Vision Revisited.” Journal of Film and Video, vol. 45, no. 1, 1993, pp. 3–12.Google Scholar
Anonymous. “Leaves of Grass.” The Literary Gazette 106, July 7, 1860, pp. 798–99. The Walt Whitman Archive. General editors Ed Folsom and Kenneth M. Price, www.whitmanarchive.org/criticism/reviews/lg1860/anc.00043.html. Accessed December 9, 2018.Google Scholar
Anonymous. “The New Poets.” The New York Times, 19 May, 1860, [1]. The Walt Whitman Archive. General editors Folsom, Ed and Price, Kenneth M, www.whitmanarchive.org/criticism/reviews/lg1860/anc.00036.html. Accessed December 9, 2018.Google Scholar
Anonymous. “[Review of Leaves of Grass (1860–61)],” Crayon 7, July 1860, pp. 211. The Walt Whitman Archive. General editors Ed Folsom and Kenneth M. Price, www.whitmanarchive.org/criticism/reviews/lg1860/anc.00042.html. Accessed December 9, 2018.Google Scholar
Anonymous. “Studies among the Leaves: The Assembly of Extremes.” Crayon 3, January 1856, pp. 30–32. The Walt Whitman Archive. General editors Ed Folsom and Kenneth M. Price, www.whitmanarchive.org/criticism/reviews/lg1855/anc.00017.html. Accessed December 9, 2018.Google Scholar
Appels, Jonathon Robinson. “Two Women Dancing.” The Yale Journal of Criticism, vol. 11, no. 1, 1998, pp. 167–74.CrossRefGoogle Scholar
Arensburg, Ann. “Seven Seconds.” DePietro, 2005, pp. 40–46.Google Scholar
Armstrong, Isobel. The Radical Aesthetic. Blackwell, 2000.Google Scholar
Armstrong, Tim. Modernism: A Cultural History. Polity Press, 2005.Google Scholar
Ashbery, John. Selected Poems. Viking, 1985.Google Scholar
Astre, Georges-Albert. Thèmes et Structures Dans L’Oeuvre de John Dos Passos. Lettres Modernes, 1956.Google Scholar
Audi, Robert, editor. The Cambridge Dictionary of Philosophy. Cambridge University Press, 2015.Google Scholar
Baker, Peter. “The Terrorist as Interpreter: Mao II in Postmodern Context.” Postmodern Culture, vol. 4, no. 2, 1994, pmc.iath.virginia.edu/text-only/issue.194/baker.194. Accessed December 9, 2018.Google Scholar
Barlow, David and Mills, Brett, editors. Reading Media Theory: Thinkers, Approaches and Contexts. Pearson Longman, 2009.Google Scholar
Barney, Brett. “Nineteenth-century Popular Culture.” Kummings, 2006, pp. 233–56.Google Scholar
Barnouw, Erik. A History of Broadcasting in the United States, 3 vols. Oxford University Press, 1966–70.Google Scholar
Barrett, Laura. “Mao II and Mixed Media.” Don DeLillo: Mao II, Underworld, Falling Man, edited by Olster, Stacey and Graham, Sarah, Continuum, 2011, pp. 49–64.Google Scholar
Barth, John. “The Literature of Exhaustion.” Atlantic Monthly, vol. 220, Aug. 1967, pp. 29–34.Google Scholar
Barth, John. “The Literature of Replenishment: Postmodernist Fiction.” Atlantic Monthly, vol. 245, January 1980, pp. 65–71.Google Scholar
Barthelme, Donald. “And Now Let’s Hear It for the Ed Sullivan Show!” Guilty Pleasures. Farrar, Straus and Giroux, 1974, pp. 101–8.Google Scholar
Barthes, Roland. Camera Lucida: Reflections on Photography, translated by Richard Howard, Hill and Wang, 1981.Google Scholar
Barthes, Roland. “The Death of the Author.” Barthes, Image, Music, Text, 1977, pp. 142–48.CrossRefGoogle Scholar
Barthes, Roland. Image, Music, Text, translated by Stephen Heath, Hill and Wang, 1977.Google Scholar
Barthes, Roland. “The Photographic Message.” Barthes, Image, Music, Text, 1977, pp. 15–31.CrossRefGoogle Scholar
Barthes, Roland. “The Reality Effect”. 1968. The Rustle of Language, translated by Richard Howard, Hill and Wang, 1989, pp. 141–48.Google Scholar
Batchen, Geoffrey. Burning with Desire: The Conception of Photography. MIT, 1997.Google Scholar
Baudrillard, Jean. Simulations, translated by Paul Foss, Semiotext(e), 1983.Google Scholar
Baym, Nina. Woman’s Fiction: A Guide to Novels by and about Women in America, 1820–1870. Cornell University Press, 1978.Google Scholar
Beach, Joseph Warren. “Manhattan Transfer: Collectivism and Abstract Composition”. 1941. Belkind, 1971, pp. 54–69.Google Scholar
Becker, George Joseph. John Dos Passos. Ungar, 1974.Google Scholar
Beeston, Alix. “A ‘Leg Show Dance’ in a Skyscraper: The Sequenced Mechanics of John Dos Passos’s Manhattan Transfer.” PMLA, vol. 131, no. 3, 2016, pp. 636–51.Google Scholar
Begley, Adam. “The Art of Fiction CXXXV: Don DeLillo.” DePietro, 2005, pp. 86–108.Google Scholar
Belkind, Allen. Dos Passos, the Critics, and the Writer’s Intention. Southern Illinois University Press, 1971.Google Scholar
Bell, Michael. “The Metaphysics of Modernism.” Levenson, Cambridge Companion, 1999, pp. 9–32.Google Scholar
Bell, Michael Davitt. “Conditions of Literary Vocation.” Bercovitch, 1995, pp. 9–123.Google Scholar
Benesch, Klaus. Romantic Cyborgs: Authorship and Technology in the American Renaissance. University of Massachusetts Press, 2009.Google Scholar
Beninger, James. The Control Revolution: Technological and Economic Origins of the Information Society. Harvard University Press, 1986.Google Scholar
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction” in Illuminations: Essays and Reflections, translated by Harry Zohn, Schocken Books, 1968, pp. 217–51.Google Scholar
Bentley, Nancy. Frantic Panoramas: American Literature and Mass Culture, 1870–1920. University of Pennsylvania Press, 2009.Google Scholar
Bercovitch, Sacvan, editor. The Cambridge History of American Literature, Vol. 2: Prose Writing, 1820–65. Cambridge University Press, 1995.Google Scholar
Berenstein, Rhona J. “Acting Live: TV Performance, Intimacy, and Immediacy (1945–1955).” Friedman, Reality Squared, 2002, pp. 25–49.Google Scholar
Berry, Ellen E. Curved Thought and Textual Wandering: Gertrude Stein’s Postmodernism. University of Michigan Press, 1992.Google Scholar
Bertens, Hans. “The Postmodern Weltanschauung and Its Relation with Modernism: An Introductory Survey.” Approaching Postmodernism, edited by Fokkema, Douwe and Bertens, Hans, Benjamins, 1986, pp. 9–51.Google Scholar
Bérubé, Michael, editor. The Aesthetics of Cultural Studies. Blackwell, 2005.Google Scholar
Biers, Katherine. Virtual Modernism: Writing and Technology in the Progressive Era. University of Minnesota Press, 2013.Google Scholar
Birkerts, Sven. Changing the Subject: Art and Attention in the Internet Age. Graywolf, 2015.Google Scholar
Bizzini, Silvia Caporale. “Can the Intellectual Still Speak? The Example of Don DeLillo’s Mao II.” Ruppersburg and Engles, 2000, pp. 245–57.Google Scholar
Blanchard, Margaret A., editor. History of the Mass Media in the United States. Fitzroy Dearborn, 1998.Google Scholar
Bloom, Harold. A Map of Misreading. Oxford University Press, 2003.CrossRefGoogle Scholar
Boddy, William. “The Beginnings of American Television.” Smith and Paterson, 1998, pp. 23–37.Google Scholar
Bohan, Ruth L. “‘The Gathering of the Forces’: Walt Whitman and the Visual Arts in Brooklyn in the 1850s.” Sill and Tarbell, 1992, pp. 1–27.Google Scholar
Bolter, Jay. “The Desire for Transparency in an Era of Hybridity.” Leonardo, vol. 39, no. 2 2006, pp. 109–11.Google Scholar
Bolter, Jay. “Remediation and Desire for Immediacy.” Convergence, vol. 6, no. 1, 2000, pp. 62–71.Google Scholar
Bolter, Jay David and Grusin, Richard. Remediation: Understanding New Media. MIT, 2000.Google Scholar
Boorstin, Daniel J. “The Great Electronic Dictator.” New York Times Book Review, 19, February 19, 1978, 10, 35.Google Scholar
Bordwell, David. On the History of Film Style. Harvard University Press, 1997.Google Scholar
Boswell, Marshall. Understanding David Foster Wallace. University of South Carolina Press, 2009.Google Scholar
Bourdon, Jérôme. “Live Television Is Still Alive: On Television as an Unfulfilled Promise.” The Television Studies Reader, edited by Allen, Robert C. and Hill, Annette, vol. 2, Routledge, 2003, pp. 182–95.Google Scholar
Boxall, Peter. Don DeLillo: The Possibility of Fiction. Routledge, 2006.Google Scholar
Bradbury, Malcolm. “The Cities of Modernism.” Bradbury and McFarlane, 1978, pp. 96–104.Google Scholar
Bradbury, Malcolm and James, McFarlane. “The Name and Nature of Modernism.” Bradbury, and McFarlane, , 1978, pp. 19–55.Google Scholar
Bradbury, Malcolm and James, McFarlane., editors. Modernism, 1890–1930, edited by Bradbury, Malcolm and James, McFarlane, Harvester Press, 1978.Google Scholar
Bradbury, Ray. “Bradbury on Censorship and Book Burnings.” 2001. Open Culture. August 10, 2017, www.openculture.com/2017/08/ray-bradbury-reveals-the-true-meaning-of-fahrenheit-451.html. Accessed December 9, 2018.Google Scholar
Bradbury, Ray. Fahrenheit 451. Ballantine, 1953.Google Scholar
Braudy, Leo and Cohen, Marshall, editors. Film Theory and Criticism: Introductory Readings, 6th edn. Oxford University Press, 2004.Google Scholar
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey, 1830–1904. University of Chicago Press, 1992.Google Scholar
Breitwieser, Michael Robert. “Who Speaks in Whitman’s Poems?” The American Renaissance: New Dimensions, edited by Garvin, Harry R., Bucknell University Press, 1983, pp. 121–43.Google Scholar
Brevda, William. “How Do I Get to Broadway? Reading Dos Passos’s Manhattan Transfer Sign.” Texas Studies in Literature and Language, vol. 38, no. 1, 1996, pp. 79–114.Google Scholar
Bridgman, Richard. Gertrude Stein in Pieces. Oxford University Press, 1970.Google Scholar
Briggs, Asa and Burke, Peter. A Social History of the Media: From Gutenberg to the Internet. Polity, 2010.Google Scholar
Brillenburg Wurth, Kiene, editor. Between Page and Screen. Remaking Literature Through Cinema and Cyberspace. Fordham, 2012.Google Scholar
Brooker, Peter. Modernity and Metropolis: Writing, Film, and Urban Formations. Palgrave, 2002.CrossRefGoogle Scholar
Brooker-Bowers, Nancy. The Hollywood Novel and Other Novels about Film, 1912–1982: An Annotated Bibliography. Garland, 1985.Google Scholar
Brown, Les. “The American Networks.” Smith and Paterson, 1998, pp. 147–61.Google Scholar
Browne, Francis F. “[Review of Leaves of Grass (1881–82)].” The Dial 2, January 1882, pp. 218–19. The Walt Whitman Archive. General editors Ed Folsom and Kenneth M. Price, www.whitmanarchive.org/criticism/reviews/tei/anc.00087.html. Accessed December 9, 2018.Google Scholar
Bruhn, Jørgen. The Intermediality of Narrative Literature: Medialities Matter. Palgrave Macmillan, 2016.Google Scholar
Buell, Lawrence. Emerson. Belknap Press, 2003.Google Scholar
Buell, Lawrence. Literary Transcendentalism: Style and Vision in the American Renaissance. Cornell University Press, 1973.Google Scholar
Burrows, Stuart. A Familiar Strangeness: American Fiction and the Language of Photography, 1839–1945. University of Georgia Press, 2008.Google Scholar
Butcher, Fanny. “Rev. of Manhattan Transfer, by John Dos Passos.” Chicago Tribune 1, March 1930, pp. 15. Maine, , 1988, pp. 82–83.Google Scholar
Canby, Henry Seidel. “Cheating at Solitaire,” The Saturday Review of Literature 11, November 17, 1934, pp. 290. Curnutt, , 2000, pp. 79–82.Google Scholar
Carr, Nicholas. The Shallows: What the Internet Is Doing to Our Brain. Norton, 2010.Google Scholar
Carr, Virginia Spencer. Dos Passos: A Life. Doubleday, 2004.Google Scholar
Carroll, Noël. “The Specificity of Media in the Arts.” Miller and Stam, 2000, pp. 39–53.Google Scholar
Carroll, Noël and Choi, Jinhee. Philosophy of Film and Motion Pictures: An Anthology. Blackwell, 2006.Google Scholar
Casey, Bernadette et al. Television Studies: The Key Concepts. Routledge, 2008.Google Scholar
Casey, Janet Galligani. Dos Passos and the Ideology of the Feminine. Cambridge University Press, 1998.Google Scholar
Castiglia, Christopher and Castronovo, Russ, editors. Aesthetics and the End(s) of Cultural Studies. Special issue of American Literature, vol. 76, no. 3, 2004, pp. 1–236.Google Scholar
Cavell, Stanley. Emerson’s Transcendental Etudes. Stanford University Press, 2003.Google Scholar
Caws, Mary Ann, editor. City Images: Perspectives from Literature, Philosophy, and Film. Taylor & Francis, 2004.Google Scholar
Celebrezze, Cat. “The Emergence of TV as a New Mass Medium.” American Visual Cultures, edited by Holloway, David and Beck, John, Continuum, 2005, pp. 125–32.Google Scholar
Cerasulo, Tom. Authors Out Here: Fitzgerald, West, Parker, and Schulberg in Hollywood. University of South Carolina Press, 2010.Google Scholar
Chaplin, Charles. My Autobiography. Simon and Schuster, 1964.Google Scholar
Charney, Leo. “In a Moment: Film and the Philosophy of Modernity.” Cinema and the Invention of Modern Life, edited by Charney, Leo and Schwartz, Vanessa R., University of California Press, 1995, pp. 279–94.Google Scholar
Christie, Ian. The Last Machine: Early Cinema and the Birth of the Modern World. BFI, 1994.Google Scholar
Clark, Lewis Gaylord. “The Daguerreotype.” The Knickerbocker, vol. 14, no. 6, 1839, pp. 560–61. The Daguerreotype: An Archive of Source Texts, Graphics, And Ephemera, edited by Gary Ewer, www.daguerreotypearchive.org/texts/P8390004_CLARK_KNICKERBOCKER_1839–12.pdf. Accessed December, 2018.Google Scholar
Clark, Michael. Dos Passos’ Early Fiction, 1912–1938. Associated University Presses, 1987.Google Scholar
Clark, Michael., editor. Revenge of the Aesthetic: The Place of Literature in Theory Today. University of California Press, 2000.Google Scholar
Clarke, David, editor. The Cinematic City. Routledge, 1997.Google Scholar
Clarke, Graham. “’To emanate a look’: Whitman, Photography and the Spectacle of Self.” American Literary Landscapes: The Fiction and the Fact, edited by Bell, Ian F.A. and Adams, D.K., Vision Press, 1988, pp. 78–101.Google Scholar
Clippinger, David. “‘Only Half There’: Don DeLillo’s Image of the Writer in the Age of Mechanical Reproduction.” Literature and the Writer, edited by Meyer, Michael J., Rodopi, 2004, pp. 135–53.Google Scholar
Clüver, Claus. “Ekphrasis Reconsidered: On Verbal Representations on Non-Verbal Texts.” Interart Poetics: Essays on the Interrelations of the Arts and Media, edited by Lagerroth, Ulla Britta, Lund, Hans, and Hedling, Erik. Rodopi, 1997, pp. 17–34.Google Scholar
Coleridge, Samuel Taylor. Biographia Literaria, 1817, vol. 1. Oxford University Press, 1939.Google Scholar
Colley, Iain. Dos Passos and the Fiction of Despair. Macmillan, 1978.Google Scholar
Collins, Jim. “Television and Postmodernism.” Allen, Channels of Discourse, 1992, pp. 327–53.Google Scholar
Connor, Rachel. H.D. and the Image. Manchester University Press, 2004.Google Scholar
Coover, Robert. “The Babysitter.” Pricksongs & Descants. Plume, 1969, pp. 206–39.Google Scholar
Coover, Robert. The Public Burning. Viking, 1977.Google Scholar
Corrigan, Timothy. Film and Literature: An Introduction and Reader. Routledge, 2012.Google Scholar
Cory, Charles E. “Immediacy: Its Nature and Value.” Studies in Honor of Frederick W. Shipley. Washington University Press, 1942, pp. 303–14.Google Scholar
Cowart, David. Don DeLillo: The Physics of Language. University of Georgia Press, 2002.Google Scholar
Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture. MIT, 1999.Google Scholar
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. MIT, 1990.Google Scholar
Crawford, John W. “Incitement to Riot.” New York Call 19, August 9, 1923. Curnutt, 2000, pp. 26–27.Google Scholar
Curnutt, Kirk, editor. The Critical Response to Gertrude Stein. Greenwood Press, 2000.Google Scholar
Daguerre, Louis-Jacques-Mandé. “Daguerreotype” 1839. Classic Essays, edited by Alan Trachtenberg, pp. 11–13.Google Scholar
“Daguerreotype, The.” The New Yorker, vol. 8, no. 13, December 14, 1839, p.205.Google Scholar
Danius, Sara. The Senses of Modernism: Technology, Perception, and Aesthetics. Cornell University Press, 2002.Google Scholar
Darrah, William Culp. The World of Stereographs. Land Yacht Press, 1997.Google Scholar
Davis, Keith F. “‘A Terrible Distinctness’: Photography of the Civil War Era.” Sandweiss, 1991, pp. 130–79.Google Scholar
Davis, Robert Gorham. John Dos Passos. University of Minnesota Press, 1962.Google Scholar
Debord, Guy. The Society of the Spectacle, translated by Donald Nicholson-Smith, Zone Books, 1994.Google Scholar
DeKoven, Marianne. A Different Language: Gertrude Stein’s Experimental Writing. University of Wisconsin Press, 1983.Google Scholar
DeLillo, Don. Mao II. Penguin, 1991.Google Scholar
DeLillo, Don. White Noise. Penguin, 1984.Google Scholar
Deming, Caren. “Locating the Televisual in Golden Age Television.” Wasko, Companion, 2005, pp. 126–41.Google Scholar
DePietro, Thomas, editor. Conversations with Don DeLillo. University Press of Mississippi, 2005.Google Scholar
Derrida, Jacques. Of Grammatology, translated by Gayatri Chakravorty Spivak, John Hopkins University Press, 1974.Google Scholar
Deutelbaum, Marshall. “Structural Patterning in the Lumière Films.” Wide Angle, vol. 3, no. 1, 1979, pp. 28–37.Google Scholar
Dewey, John. Art as Experience. 1934. Perigee, 1980.Google Scholar
Dewey, Joseph. Beyond Grief and Nothing: A Reading of Don DeLillo. University of South Carolina Press, 2006.Google Scholar
Dickinson, Emily. The Complete Poems, edited by Johnson, Thomas H, Faber and Faber, 1975.Google Scholar
Dickson, David. The Utterance of America: Emersonian Newness in Dos Passos’ U.S.A. and Pynchon’s Vineland. Acta Universitatis Gothoburgensis, 1998.Google Scholar
Dinius, Marcy J. The Camera and the Press: American Visual and Print Culture in the Age of the Daguerreotype. University of Pennsylvania Press, 2012.Google Scholar
Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, The Archive. Harvard University Press, 2002.Google Scholar
Doane, Mary. “Information, Crisis, Catastrophe.” Logics of Television: Essays in Cultural Criticism, edited by Mellencamp, Patricia, Indiana University Press, 1990, pp. 222–39.Google Scholar
Donald, James. “Cinema, Modernism, and Modernity.” The Oxford Handbook of Modernisms, edited by Brooker, Peter et al. Oxford University Press, 2010, pp. 503–20.Google Scholar
Donald, James, Friedberg, Anne, and Marcus, Laura, editors. Close Up, 1927–1933: Cinema and Modernism. Princeton University Press, 1998.Google Scholar
Dos, Passos, John. Adventures of a Young Man. Houghton Mifflin, 1967.Google Scholar
Dos, Passos, John. The Best Times. An Informal Memoir. New American Library, 1966.Google Scholar
Dos, Passos, John. “Contemporary Chronicles”. 1960. Dos Passos, Major Nonfictional Prose, 1988, pp. 238–40.Google Scholar
Dos, Passos, John. The Fourteenth Chronicle: Letters and Diaries of John Dos Passos, edited by Ludington, Townsend, Gambit, 1973.Google Scholar
Dos, Passos, John. John Dos Passos: The Major Nonfictional Prose, edited by Pizer, Donald, Wayne State University Press, 1988.Google Scholar
Dos, Passos, John. Manhattan Transfer. 1925. Houghton Mifflin, 1991.Google Scholar
Dos, Passos, John. Midcentury. Houghton Mifflin, 1961.Google Scholar
Dos, Passos, John. “A Note on Fitzgerald.” The Crack-Up. F. Scott Fitzgerald, edited by Wilson, Edmund, New Directions, 1945, pp. 338–43.Google Scholar
Dos, Passos, John. Travel Books and Other Writings, 1916–1941. Literary Classics of the United States, Penguin, Putnam, 2003.Google Scholar
Dos, Passos, John. U.S.A.: The 42nd Parallel. 1919. The Big Money. 1930–36. Library of America, 1996.Google Scholar
Dos, Passos, John. “What Makes a Novelist”. 1967. Dos Passos, Major Nonfictional Prose, 1988, pp. 268–75.Google Scholar
Dos, Passos, John. World in a Glass; A View of our Century Selected from the Novels of John Dos Passos. Houghton Mifflin, 1966.Google Scholar
Dougherty, James. Walt Whitman and the Citizen’s Eye. Louisiana State University Press, 1993.Google Scholar
Dreiser, Theodore. Sister Carrie. 1900. Bantam, 1982.Google Scholar
Dubnick, Randa. The Structure of Obscurity: Gertrude Stein, Language, and Cubism. University of Illinois Press, 1984.Google Scholar
Duguid, Paul. “Material Matters: The Past and Futurology of the Book.” The Future of the Book, edited by Nunberg, Geoffrey, University of California Press, 1996, pp. 63–101.Google Scholar
Duvall, John N. “The (Super)Marketplace of Images: Television as Unmediated Mediation in DeLillo’s White Noise.” Arizona Quarterly, vol. 50, no. 3, 1994, pp. 127–53.Google Scholar
Duvall, John N., editor. The Cambridge Companion to Don DeLillo. Cambridge University Press, 2008.Google Scholar
Eagleton, Terry. The Ideology of the Aesthetic. Basil Blackwell, 1990.Google Scholar
Eastman, Max et al. John Dos Passos: An Appreciation. Prentice-Hall, 1954.Google Scholar
Eaton, Mark A. “Inventing Hope: The Question of Belief in White Noise and Mao II.” Approaches to Teaching Don DeLillo’s White Noise, edited by Duvall, John N. and Engles, Tim, MLA, 2006, pp. 144–57.Google Scholar
Edgerton, Gary R. “Here Comes Television: Remaking American Life – 1948–1954.” Edgerton, Columbia History, 2007, pp. 113–55.Google Scholar
Edgerton, Gary R., editor. The Columbia History of American Television. Columbia University Press, 2007.Google Scholar
Edison, Thomas A., director. Uncle Josh at the Moving Picture Show. 1902. Edison Motion Picture and Sound Recordings. Library of Congress Archive, www.loc.gov/item/00694324. Accessed December 9, 2018.Google Scholar
Edison, Thomas A., director. Edison Motion Picture and Sound Recordings. Library of Congress Archive, www.memory.loc.gov/ammem/edhtml/ujmps.html. Accessed December 9, 2018.Google Scholar
Egerer, Claudia. “The Image of Terror/Terrorism of Images in Leviathan and Mao II.” Transnational America: Contours of Modern US Culture, edited by Duncan, Russell and Juncker, Clara, Museum Tusculanum Press, 2004, pp. 95–110.Google Scholar
Eisenstein, Sergei, director. Battleship Potemkin. 1925. Kino International, 2007.Google Scholar
Eisenstein, Sergei, director. October. 1927. Triad Productions Corporation, 2008.Google Scholar
Eisenstein, Sergei, director. Strike. 1924. Image Entertainment, 2000.Google Scholar
Elleström, Lars, editor. Media Borders, Multimodality and Intermediality. Palgrave Macmillan, 2010.Google Scholar
Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration.’” Strauven, , 2007, pp. 205–25.Google Scholar
Elsaesser, Thomas. “Early Cinema: From Linear History to Mass Media Archaeology.” Elsaesser, and Barker, , 1990, pp. 1–8.Google Scholar
Elsaesser, Thomas. “Early Film Form: Articulations of Space and Time.” Elsaesser, and Barker, , 1990, pp. 11–30.Google Scholar
Elsaesser, Thomas. “Literature after Television: Author, Authority, Authenticity.” Writing for the Medium: Television in Transition, edited by Elsaesser, Thomas, Simons, Jan, and Bronk, Lucette, Amsterdam University Press, 1994, pp. 137–48.Google Scholar
Elsaesser, Thomas and Barker, Adam, editors. Early Cinema: Space, Frame, Narrative. BFI, 1990.Google Scholar
Emerson, Ralph Waldo. The Complete Works of Ralph Waldo Emerson, edited by Emerson, Edward Waldo, 12 vols., Houghton Mifflin, Boston, 1903–04.Google Scholar
Emerson, Ralph Waldo. The Complete Works of Ralph Waldo Emerson. The Ralph Waldo Emerson Institute, www.rwe.org/. Accessed December 9, 2018.Google Scholar
Emerson, Ralph Waldo. The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, edited by Gilman, William H. et al., 16 vols., Harvard University Press, 1966–78.Google Scholar
Emerson, Ralph Waldo and Carlyle, Thomas. The Correspondence of Emerson and Carlyle, edited by Slater, Joseph, Columbia University Press, 1964.Google Scholar
Evenson, Brian. Understanding Robert Coover. University of South Carolina Press, 2003.Google Scholar
Federman, Raymond. “Fiction Today or the Pursuit of Non-Knowledge.” Surfiction. Fiction Now and Tomorrow, edited by Federman, Raymond, Swallow Press, 1981, pp. 291–311.Google Scholar
Federman, Raymond. “The Last Stand of Literature.” ANQ, vol. 5, 1992, pp. 190–92.Google Scholar
Fell, John L., editor. Film Before Griffith. University of California Press, 1983.Google Scholar
Feuer, Jane. “The Concept of Live Television: Ontology as Ideology.” Kaplan, 1983, pp. 12–21.Google Scholar
Fifer, Elizabeth. Rescued Readings: A Reconstruction of Gertrude Stein’s Difficult Texts. Wayne State University Press, 1992.Google Scholar
Fine, Richard. West of Eden: Writers in Hollywood, 1928–1940. Smithsonian, 1993.Google Scholar
Finn, Howard. “Writing Lives: Dorothy Richardson, May Sinclair, Gertrude Stein.” Shiach, , 2007, pp. 191–205.Google Scholar
Fiske, John. Television Culture. Routledge, 2011.Google Scholar
Fitzpatrick, Kathleen. The Anxiety of Obsolescence: The American Novel in the Age of Television. Vanderbilt University Press, 2006.Google Scholar
Flitterman-Lewis, Sandy. “Psychoanalysis, Film, and Television.” Allen, Channels of Discourse, 1992, pp. 203–46.Google Scholar
Fluck, Winfried. Das kulturelle Imaginäre: Eine Funktionsgeschichte des amerikanischen Romans, 1790–1900. Suhrkamp, 1997.Google Scholar
Fluck, Winfried. “Surface Knowledge and ‘Deep’ Knowledge: The New Realism in American Fiction.” Neo-Realism in Contemporary American Fiction, edited by Versluys, Kristiaan, Rodopi, 1992, pp. 65–85.Google Scholar
Fluck, Winfried., editor. Pragmatism and Literary Studies. Narr, 1999.Google Scholar
Foer, Jonathan Safran. Extremely Loud & Incredibly Close. Penguin, 2005.Google Scholar
Folsom, Ed. Walt Whitman’s Native Representations. Cambridge University Press, 1994.Google Scholar
Folsom, Ed. Whitman Making Books, Books Making Whitman: A Catalog & Commentary. University of Iowa, 2005.Google Scholar
Fonblanque, Albany Jr. The Filibuster. Ward and Lock, London, 1862.Google Scholar
Foster, Gretchen. “John Dos Passos’ Use of Film Technique in Manhattan Transfer and The 42nd Parallel.” Literature Film Quarterly, vol. 14, no. 3, 1986, pp. 186–94.Google Scholar
Frassanito, William. Gettysburg: A Journey in Time. Scribner’s, 1975.Google Scholar
Freese, Peter. “‘High’ Meets ‘Low’: Popular Culture in Contemporary American Literature.” Popular Culture in the United States, edited by Freese, Peter and Porsche, Michael, Blaue Eule, 1994, pp. 75–102.Google Scholar
Friedl, Herwig. “Art and Culture as Emerging Events: Gertrude Stein, Pragmatism, and Process Philosophy.” Emerging Structures in Interdisciplinary Perspective, edited by Keller, Rudi and Menges, Karl, Francke, 1997, pp. 43–64.Google Scholar
Friedl, Herwig. “The Masks of Proteus: Emerson on the Nature of Poetry and the Poetry of Nature.” Poetics in the Poem: Critical Essays on American Self-Reflexive Poetry, edited by Baker, Dorothy Z., Peter Lang, 1997, pp. 104–18.Google Scholar
Friedl, Herwig., Thinking in Search of a Language: Essays on American Intellect and Intuition. Bloomsbury, 2019.Google Scholar
Friedman, James. “Attraction to Distraction: Live Television and the Public Sphere.” Friedman, Reality Squared, 2002, pp. 138–54.Google Scholar
Friedman, James., editor. Reality Squared: Televisual Discourse on the Real. Rutgers University Press, 2002.Google Scholar
Fuller, Matthew. Media Ecologies: Materialist Energies in Art and Technoculture. MIT Press, 2007.Google Scholar
Fuller-Seeley, Kathryn H. “Learning to Live with Television: Technology, Gender, and America’s Early TV Audiences.” Edgerton, Columbia History, 2007, pp. 91–110.Google Scholar
Geiger, Jeffrey. American Documentary Film: Projecting the Nation. Edinburgh University Press, 2011.Google Scholar
Gelfant, Blanche. The American City Novel. University of Oklahoma Press, 1954.Google Scholar
Gelpi, Albert. “Emerson: The Paradox of Organic Form.” Levin, , Emerson, 1975, pp. 149–70.Google Scholar
Geyh, Paula. “Between Word and Image: The Textual and the Visual in Postmodern American Fiction.” Geyh, Cambridge Companion, 2017, pp. 163–80.Google Scholar
Geyh, Paula. “From Cities of Things to Cities of Signs: Urban Spaces and Urban Subjects in Sister Carrie and Manhattan Transfer.” Twentieth-Century Literature, vol. 52, no. 4, 2006, pp. 413–42.Google Scholar
Geyh, Paula., editor. The Cambridge Companion to Postmodern American Fiction. Cambridge University Press, 2017.Google Scholar
Gilmore, Michael T. American Romanticism and the Marketplace. Chicago University Press, 1985.Google Scholar
Gilmore, Michael T.. “The Book Marketplace I.” The Columbia History of the American Novel, edited by Elliott, Emory et al. Columbia University Press, 1991, pp. 46–71.Google Scholar
Gilmore, Paul. “Mechanical Means: Emersonian Aesthetic Transcendence and Antebellum Technology.” Modern Language Quarterly, vol. 65, no. 2, 2004, pp. 245–68.Google Scholar
Gilmore, Paul. “Romantic Electricity, or the Materiality of Aesthetics.” American Literature, vol. 76, no. 3, 2004, pp. 467–94.Google Scholar
Gitelman, Lisa. Always Already New: Media, History, and the Data of Culture. MIT, 2006.Google Scholar
Gitelman, Lisa and Pingree, Geoffrey B.. “Introduction: What’s New about New Media.” New Media, 1740–1915, edited by Gitelman, Lisa and Pingree, Geoffrey B., MIT, 2003, pp. xi–xxii.Google Scholar
Goble, Mark. Beautiful Circuits: Modernism and the Mediated Life. Columbia University Press, 2010.Google Scholar
Gold, Michael. “Rev. of Manhattan Transfer, by John Dos Passos.” New Masses, 1926, pp. 25–26. Maine, , 1988, pp. 72–74.Google Scholar
Goodman, Russell. American Philosophy and the Romantic Tradition. Cambridge University Press, 2008.Google Scholar
Goodson, A. C. “Manhattan Transfer and the Metropolitan Subject.” Arizona Quarterly, vol. 56, no. 1, 2000, pp. 89–103.Google Scholar
Goody, Alex. Technology, Literature, and Culture. Polity, 2011.Google Scholar
Grahn, Judy. Really Reading Gertrude Stein. The Crossing Press, 1989.Google Scholar
Green, Jeremy. “Disaster Footage: Spectacles of Violence in DeLillo’s Fiction.” Modern Fiction Studies, vol. 45, no. 3, 1999, pp. 571–99.Google Scholar
Green, Jeremy. “Last Days: Millennial Hysteria in Don DeLillo’s Mao II.” The Ending of Epochs, edited by Brake, Laurel, Brewer, 1995, pp. 129–48.Google Scholar
Green-Lewis, Jennifer. Framing the Victorians: Photography and the Culture of Realism. Cornell University Press, 1996.Google Scholar
Greenspan, Ezra. Walt Whitman and the American Reader. Cambridge University Press, 1990.Google Scholar
Grey, Robin. “Enlightenment and Scottish Common Sense Philosophy.” Myerson, Petrulionis, and Walls, 2010, pp. 9–26.Google Scholar
Griem, Julika. “Screening America: Representations of Television in Contemporary American Literature.” Amerikastudien/American Studies, vol. 41, no. 3, 1996, pp. 465–81.Google Scholar
Grieveson, Lee and Krämer, Peter, editor. The Silent Cinema Reader. Routledge, 2007.Google Scholar
Griffith, Derek Wark, director. Griffith Masterworks: The Birth of a Nation. Intolerance. Broken Blossoms. Orphans of the Storm. Biograph Shorts, 1909–1913. Kino Video, 2002.Google Scholar
Grimonprez, Johan. Dial H-I-S-T-O-R-Y. Argos Editions, 2003.Google Scholar
Gripsrud, Jostein. “Television, Broadcasting, Flow: Key Metaphors in TV Theory.” The Television Studies Book, edited by Geraghty, Christine and Lusted, David, Arnold, 2002, pp. 17–32.Google Scholar
Grossman, Jay. Reconstituting the American Renaissance: Emerson, Whitman, and the Politics of Representation. Duke University Press, 2003.Google Scholar
Guillory, John. “Genesis of the Media Concept.” Critical Inquiry, vol. 36, 2010, pp. 321–62.Google Scholar
Gumbrecht, Hans Ulrich. The Production of Presence: What Meaning Cannot Convey. Stanford University Press, 2004.Google Scholar
Gunn, Giles. “The Pragmatics of the Aesthetic.” Aesthetics in a Multicultural Age, edited by Elliott, Emory, Caton, Louis Freitas, and Rhyne, Jeffery. Oxford University Press, 2002, pp. 61–77.Google Scholar
Gunning, Tom. “An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator.” Williams, Viewing Positions, 1995, pp. 114–33.Google Scholar
Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Elsaesser and Barker, 1990, pp. 56–62.Google Scholar
Gunning, Tom. D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph. University of Illinois Press, 1991.Google Scholar
Gunning, Tom. “Modernity and Cinema: A Culture of Shocks and Flows.” Cinema and Modernity, edited by Pomerance, Murray, Rutgers University Press, 2006, pp. 297–315.Google Scholar
Hardack, Richard. “Two’s A Crowd: Mao II, Coke II, and the Politics of Terrorism in Don DeLillo.” Studies in the Novel, vol. 36, no. 3, 2004, pp. 374–92.Google Scholar
Harvey, David. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Blackwell, 1989.Google Scholar
Haselstein, Ulla. “Gertrude Stein’s Portraits of Matisse and Picasso.” New Literary History, vol. 34, 2004, pp. 723–43.Google Scholar
Hassan, Ihab. The Dismemberment of Orpheus: Toward a Postmodern Literature. University of Wisconsin Press, 1982.Google Scholar
Hatlen, Burton. “So Long!” LeMaster and Kummings, 2011, pp. 648–49.Google Scholar
Havelock, Eric A. The Literate Revolution in Greece and its Cultural Consequences. Princeton University Press, 1982.Google Scholar
Hawkins, Stephen. A Brief History of Time: From the Big Bang to Black Holes. Bantam, 1988.Google Scholar
Hawthorne, Nathaniel. The House of the Seven Gables. 1851. Norton, 1967.Google Scholar
Hawthorne, Nathaniel. The Letters, 1853–56. The Centenary Edition of the Works of Nathaniel Hawthorne, edited by Woodson, Thomas et al., vol. 17, Ohio State University Press, 1987.Google Scholar
Hayles, N. Katherine. “Intermediation: The Pursuit of a Vision.” Brillenburg Wurth, 2012, pp. 101–26.Google Scholar
Hayles, N. Katherine and Pressman, Jessica. “Introduction. Making, Critique: A Media Framework.” Hayles and Pressman, 2013, pp. vii–xxxiii.Google Scholar
Hayles, N. Katherine and Pressman, Jessica, editors. Comparative Textual Media: Transforming the Humanities in the Postprint Era. University of Minnesota Press, 2013.Google Scholar
Hayward, Susan. Cinematic Studies: The Key Concepts. Routledge, 2000.Google Scholar
Heffernan, James A. W. “Ekphrasis: Theory.” Rippl, 2015, pp. 35–49.Google Scholar
Heffernan, James A. W. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. University of Chicago Press, 1993.Google Scholar
Heise, Ursula. “Unnatural Ecologies: the Metaphor of the Environment in Media Theory.” Configurations, vol. 10, 2003, pp. 149–68.Google Scholar
Henisch, Bridget Ann and Henisch, Heinz K.. The Photographic Experience, 1839–1914: Images and Attitudes. Pennsylvania State University Press, 1994.Google Scholar
Herman, David, Jahn, Manfred, and Ryan, Marie-Laure, editors. Routledge Encyclopedia of Narrative Theory. Routledge, 2008.Google Scholar
Herzogenrath, Bernd, editor. Travels in Intermedia[lity]: ReBlurring the Boundaries. Dartmouth College Press, 2012.Google Scholar
Hochberg, Julian and Brooks, Virginia. “Movies in the Mind’s Eye.” Post-Theory: Reconstructing Film Studies, edited by Bordwell, David and Carroll, Noël, University of Wisconsin Press, 1996, 368–87.Google Scholar
Hoffman, Michael. The Development of Abstractionism in the Writings of Gertrude Stein. University of Pennsylvania Press, 1965.Google Scholar
Holland, Mary K. Succeeding Postmodernism: Language and Humanism in Contemporary American Literature. Bloomsbury, 2013.Google Scholar
Hollander, John. The Gazer’s Spirit: Poems Speaking to Silent Works of Art. University of Chicago Press, 1995.Google Scholar
Hollingshead, John. “A Wild Poet of the Woods.” The Irish Literary Gazette and Register, February 1861, pp. 126–27. The Walt Whitman Archive. General editors Folsom, Ed and Price, Kenneth M., www.whitmanarchive.org/criticism/reviews/lg1860/anc.00190.html. Accessed December 9, 2018.Google Scholar
Hook, Andrew, editor. Dos Passos: A Collection of Critical Essays. Prentice-Hall, 1974.Google Scholar
Hopkins, Vivian Constance. Spires of Form: A Study of Emerson’s Aesthetic Theory. Harvard University Press, 1951.Google Scholar
Horace, . “The Art of Poetry.” Classical Literary Criticism, edited by Andrew Russell, Donald and Winterbottom, Michael, Oxford University Press, 2008, pp. 98–110.Google Scholar
Horak, Jan-Christopher. “Paul Strand and Charles Sheeler’s Manhatta.” Lovers of Cinema: The First American Film Avant-Garde, 1919–1945, edited by Horak, Jan-Christopher, University of Wisconsin Press, 1995, pp. 267–86.Google Scholar
Hostetler, Ann. “Emerson and the Visual Arts: Private Response and Public Posture.” ESQ, vol. 33, no. 3, 1987, pp. 121–36.Google Scholar
Howard, Gerald. “Slouching towards Grubnet: The Author in the Age of Publicity.” Review of Contemporary Fiction, vol. 16, no. 1, 1996, pp. 44–53.Google Scholar
Huff, Kelly W. A. “Golden Age of Television.” Blanchard, , 1998, pp. 240–43.Google Scholar
Hughson, Lois. “Narration in the Making of Manhattan Transfer.” Studies in the Novel, vol. 8, 1976, pp. 185–98.Google Scholar
Humm, Peter. “Reading the Lines: Television and New Fiction.” Re-Reading English, edited by Widdowson, Peter, Methuen, 1982, pp. 193–206.Google Scholar
Hungerford, Amy. Making Literature Now. Stanford University Press, 2016.Google Scholar
Hutcheon, Linda. The Politics of Postmodernism. Routledge, 1989.Google Scholar
Huyssen, Andreas. After The Great Divide: Modernism, Mass Culture, Postmodernism. Indiana University Press, 1986.Google Scholar
Ireland, Craig. The Subaltern Appeal to Experience: Self-Identity, Late Modernity, and the Politics of Immediacy. McGill-Queen’s University Press, 2004.Google Scholar
Iser, Wolfgang. The Fictive and the Imaginary: Charting Literary Anthropology. John Hopkins University Press, 1993.Google Scholar
Isernhagen, Hartwig. Ästhetische Innovation und Kulturkritik: das Frühwerk von John Dos Passos, 1916–1938. Fink, 1983.Google Scholar
Jackson, Wallace. Immediacy: The Development of a Critical Concept from Addison to Coleridge. Rodopi, 1973.Google Scholar
James, Caryn. “Characters From the Screen Are Invading the Printed Page.” The New York Times, vol. 31, May 1990, C 15.Google Scholar
James, William. The Principles of Psychology. 1890. 2 vols. Dover, 1950.Google Scholar
Jameson, Frederic. Postmodernism, or the Cultural Logic of Late Capitalism. Duke University Press, 1991.Google Scholar
Jameson, Frederic. Signatures of the Visible. Routledge, 1992.Google Scholar
Jay, Martin. Songs of Experience: Modern American and European Variations on a Universal Theme. University of California Press, 2005.Google Scholar
Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York University Press, 2006.Google Scholar
Johnston, John. Information Multiplicity: American Fiction in the Age of Media Saturation. John Hopkins University Press, 1998.Google Scholar
Johnstone, Robert. “Poetic Theory.” LeMaster and Kummings, 2011, pp. 525–28.Google Scholar
Jones, Sara Gwenllian. “Television.” Herman, Jahn, and Ryan, 2008, pp. 585–89.Google Scholar
Jowett, Garth S. “The First Motion Picture Audiences.” Fell, 1983, pp. 196–206.Google Scholar
Kaes, Anton. “The Debate about Cinema: Charting a Controversy (1909–1929).” Weimar Film Theory. Special issue of New German Critique, vol. 40, 1987, pp. 7–33.Google Scholar
Kalaidjian, Walter, editor. The Cambridge Companion to American Modernism. Cambridge University Press, 2005.Google Scholar
Kant, Immanuel. Critique of Pure Reason, 1781, translated by Norman Kemp Smith, Palgrave Macmillan, 2003.Google Scholar
Kaplan, E. Ann, editor. Regarding Television: Critical Approaches—an Anthology.American Film Institute, 1983.Google Scholar
Karnicky, Jeffrey. “Wallpaper Mao: Don DeLillo, Andy Warhol, and Seriality.” Critique, vol. 42, no. 4, 2001, pp. 339–56.Google Scholar
Keesey, Douglas. Don DeLillo. Twayne, 1993.Google Scholar
Keil, Charlie. Early American Cinema in Transition: Story, Style, and Filmmaking, 1907–1913. University of Wisconsin Press, 2001.Google Scholar
Kelly, Adam. “David Foster Wallace and the New Sincerity in American Fiction.” Consider David Foster Wallace: Critical Essays, edited by Hering, David, Sideshow, 2010, pp. 131–46.Google Scholar
Kern, Stephen. The Culture of Time and Space, 1880–1918. Harvard University Press, 2003.Google Scholar
Keunen, Bart. “The Plurality of Chronotopes in the Modernist City Novel: The Case of Manhattan Transfer.” English Studies, vol. 5, 2001, pp. 420–36.Google Scholar
Kickasola, Joseph. “Contemporary Media and the Evolving Notion of Immediacy.” Quarterly Review of Film and Video, vol. 23, 2006, pp. 299–310.Google Scholar
Kirby, Lynne. Parallel Tracks: The Railroad and Silent Cinema. University of Exeter Press, 1997.Google Scholar
Kittler, Friedrich. Discourse Networks, 1800/1900, 1985, translated by Michael Meeter with Chris Cullens, Stanford University Press, 1990.Google Scholar
Kittler, Friedrich. Gramophone, Film, Typewriter, 1986, translated by Geoffrey Winthrop-Young and Michael Wutz, Stanford University Press, 1999.Google Scholar
Klarer, Mario. “Ekphrasis.” Herman, Jahn, and Ryan, 2008, pp. 133–34.Google Scholar
Klepper, Martin. The Discovery of Point of View: Observation and Narration in the American Novel, 1790–1910. Winter, 2011.Google Scholar
Kley, Antje. “‘keeping pace with the visual revolution’: Intermediary Reference in Gertrude Stein’s Prose Poems Tender Buttons and Wynham Lewis’s Novel Tarr.” Amerikastudien/American Studies, vol. 49, no. 4, 2004, pp. 515–38.Google Scholar
Kosinski, Jerzy. Being There. Harcourt Brace Jovanovich, 1970.Google Scholar
Kracauer, Siegfried. The Mass Ornament: Weimar Essays, edited and translated by Levin, Thomas Y., Harvard University Press, 1995.Google Scholar
Krieger, Murray. Poetic Presence and Illusion: Essays in Critical History and Theory. John Hopkins University Press, 1979.Google Scholar
Kummings, Donald D., editor. A Companion to Walt Whitman. Blackwell, 2006.Google Scholar
Landesberg, Richard and Pescatore, Mark J.. “History of Television Broadcasting.” The Encyclopedia of Communication and Information, edited by Schement, Jorge Reina, vol. 3, Macmillan, 2002, pp. 1024–28.Google Scholar
Landmarks of Early Film, vol. 1, Image Entertainment, USA, 1997.Google Scholar
Lane, Philip J. “Television Entertainment.” Blanchard, 1998, pp. 639–47.Google Scholar
Lang, Abigail. “Stein and Cinematic Identity.” Posman and Schultz, 2015, pp. 145–64.Google Scholar
Laughey, Dan. Key Themes in Media Theory. Open University Press, 2007.Google Scholar
Lawrence, D. H. “Review of Manhattan Transfer, by John Dos Passos.” Calendar of Modern Letters, April 1927, pp. 70–72. Maine, , 1988, pp. 74–77.Google Scholar
Lee-Wright, Peter. The Documentary Handbook. Routledge, 2010.Google Scholar
LeMaster, J. R. and Kummings, Donald D., editors. The Routledge Encyclopedia of Walt Whitman. Routledge, 2011.Google Scholar
Lentricchia, Frank and Jody, McAuliffe. Crimes of Art and Terror. University of Chicago Press, 2003.Google Scholar
Lentricchia, Frank and Jody, McAuliffe., editor. Introducing Don DeLillo. Duke University Press, 1991.Google Scholar
Lessing, Gotthold Ephraim. Laocoön: An Essay on the Limits of Painting and Poetry, translation, introduction, and notes by McCormick, Edward Allen, John Hopkins University Press, 1984.Google Scholar
Levenson, Michael. “Introduction.” Levenson, Cambridge Companion, pp. 1–8.Google Scholar
Levenson, Michael., editor. Cambridge Companion to Modernism. Cambridge University Press, 1999.Google Scholar
Levin, David, editor. Emerson: Prophecy, Metamorphosis, and Influence. Columbia University Press, 1975.Google Scholar
Levin, Jonathan. The Poetics of Transition: Emerson, Pragmatism, and American Literary Modernism. Duke University Press, 1999.Google Scholar
Lewis, Sinclair. John Dos Passos’ Manhattan Transfer. Harper, 1926.Google Scholar
Leyda, Jay. “A Conversation with Leo Tolstoy.” Kino: A History of the Russian and Soviet Film. Allen & Unwin, 1960, pp. 410–11.Google Scholar
Leyner, Mark. My Cousin, My Gastroenterologist. Harmony, 1990.Google Scholar
Liu, Alan. “Imagining the New Media Encounter.” A Companion to Digital Literary Studies, edited by Siemens, Ray and Schreibman, Susan, Blackwell, 2007, pp. 3–25.Google Scholar
Lopes, Dominic McIver. “The Aesthetics of Photographic Transparency.” Carroll and Choi, 2006, pp. 35–43.Google Scholar
Lowry, E. D. “The Lively Art of Manhattan Transfer.” PMLA, vol. 84, no. 6, 1969, pp. 1628–38.Google Scholar
Ludington, Townsend. John Dos Passos: A Twentieth Century Odyssey. Dutton, 1980.Google Scholar
Ludington, Townsend. “The Ordering of the Camera Eye in U.S.A.” American Literature, vol. 49, no. 3, 1977, pp. 443–46.Google Scholar
Lumière, Auguste and Lumière, Louis, dir. The Lumiere Brothers’ First Films. Kino Video, 2003.Google Scholar
Lyotard, Jean-François. “An Answer to the Question, What Is the Postmodern?” The Postmodern Explained: Correspondence, 1982–1985, edited by Pefanis, Julian and Thomas, Morgan, University of Minnesota Press, 1992, pp. 1–16.Google Scholar
MacCabe, Colin. “Foreword.” Trotter, 2007, pp. ix–xii.Google Scholar
MacCabe, Colin. “On Impurity: The Dialectics of Cinema and Literature.” Murphet and Rainford, Literature, 2003, pp. 15–28.Google Scholar
Magny, Claude-Edmonde. The Age of the American Novel: The Film Aesthetic of Fiction between the Two Wars. Frederick Ungar, 1972.Google Scholar
Maine, Barry, editor. Dos Passos: The Critical Heritage. Routledge, 1988.Google Scholar
Malcolm, Janet. “The Mystery of Gertrude Stein.” The New Yorker, June 2, 2003, pp. 58–81.Google Scholar
Manzerolle, Vincent. “Technologies of Immediacy/Economies of Attention: Notes on the Commercial Development of Mobile Media and Wireless Connectivity.” The Audience Commodity in a Digital Age. Revisiting a Critical Theory of Commercial Media, edited by McGuigan, Lee and Manzerolle, Vincent, Peter Lang, 2014, pp. 206–26.Google Scholar
Marcus, Laura. “How Newness Enters the World.” Murphet and Rainford, Literature, 2003, pp. 29–45.Google Scholar
Marcus, Laura. The Tenth Muse: Writing about Cinema in the Modernist Period. Oxford University Press, 2010.Google Scholar
Marey, Etienne-Jules. “Demeney Walking.” “Schenkel, Long Jump.” Bibliothèque Interuniversitaire de Médicine et d’Odontologie of the Université Paris Descartes. “La Science du Movement et l’Image du Temps: 473 Plaques Photographic d’ Etienne-Jules Marey.” Plaques 31–33, 132, www3.biusante.parisdescartes.fr/marey/debut.htm. Accessed December 9, 2018.Google Scholar
Marey, Etienne-Jules. “Untitled” [Sprinter]. Museum of Modern Art. “The Collection”, moma.org/collection/object.php?object_id=50087. Accessed December 9, 2018.Google Scholar
Margolies, Edward. New York and the Literary Imagination: The City in Twentieth Century Fiction and Drama. McFarland, 2008.Google Scholar
Marien, Mary Warner. Photography: A Cultural History. Laurence King, 2002.Google Scholar
Marien, Mary. Photography and Its Critics: A Cultural History, 1839–1900. Cambridge University Press, 2011.Google Scholar
Marshall, David. The Frame of Art: Fictions of Aesthetic Experience, 1750–1815. John Hopkins University Press, 2005.Google Scholar
Marshall, David. “Ut picture poesis.” Nisbet and Rawson, 1997, pp. 681–99.Google Scholar
Mason, John B. “Catalogues.” LeMaster and Kummings, 2011, pp. 107–08.Google Scholar
Matthiessen, F. O. American Renaissance: Art and Expression in the Age of Emerson and Whitman. Oxford University Press, 1968.Google Scholar
McCabe, Susan. Cinematic Modernism: Modernist Poetry and Film. Cambridge University Press, 2005.Google Scholar
McCaffery, Larry. “Interview with David Foster Wallace.” Review of Contemporary Fiction, vol. 13, no. 2, 1993, pp. 127–50.Google Scholar
McEwan, Paul. The Birth of a Nation. BFI Film Classics. Palgrave, 2015.Google Scholar
McHale, Brian. Constructing Postmodernism. Routledge, 1992.Google Scholar
McHale, Brian. Postmodernist Fiction. Methuen, 1987.Google Scholar
McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto University Press, 1962.Google Scholar
McLuhan, Marshall. “John Dos Passos: Technique vs. Sensibility.” Hook, 1974, pp. 148–61.Google Scholar
McLuhan, Marshall. Understanding Media: The Extensions of Man. New American Library, 1964.Google Scholar
McQuire, Scott. Visions of Modernity: Representation, Memory, Time and Space in the Age of the Camera. Sage, 1998.Google Scholar
McShine, Kynaston, editor. Andy Warhol: A Retrospective. Museum of Modern Art, 1989.Google Scholar
Meehan, Sean Ross. Mediating American Autobiography: Photography in Emerson, Thoreau, Douglass, and Whitman. University of Missouri Press, 2008.Google Scholar
Meehan, Sean. “Photography.” Myerson, Petrulionis, and Walls, pp. 453–59.Google Scholar
Melville, Herman. Moby-Dick; or The Whale. 1851. Norton, 2002.Google Scholar
Meyer, Steven. “Gertrude Stein.” Modernism and the New Criticism, edited by Walton Litz, A., Menard, Louis, and Rainey, Lawrence, Cambridge University Press, 2000, pp. 93–121. Vol. 7 of The Cambridge History of Literary Criticism.Google Scholar
Meyer, Steven. Irresistible Dictation: Gertrude Stein and the Correlations of Writing and Science. Stanford University Press, 2001.Google Scholar
Meyrowitz, Joshua. No Sense of Place: The Impact of Electronic Media on Social Behavior. Oxford University Press, 1985.Google Scholar
Michaels, Walter Benn and Pease, Donald E., editors. The American Renaissance Reconsidered. John Hopkins University Press, 1985.Google Scholar
Mickalites, Carey James. “Manhattan Transfer, Spectacular Time, and the Outmoded.” Arizona Quarterly, vol. 67, no. 4, 2011, pp. 59–82.Google Scholar
Miller, Toby and Stam, Robert, editors. Film and Theory: An Anthology. Blackwell, 2000.Google Scholar
Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. University of Chicago Press, 1994.Google Scholar
Mittell, Jason. Television and American Culture. Oxford University Press, 2009.Google Scholar
Monaco, James. How to Read a Film: Movies, Media, Multimedia. Oxford University Press, 2000.Google Scholar
Morley, David. “Television—Not So Much a Visual Medium, More a Visible Object.” Visual Culture, edited by Jenks, Chris, Routledge, 1995, pp. 170–89.Google Scholar
Morris, Nigel. “Dos Passos, John (Roderigo) (1896–1970).” Encyclopedia of Literary Modernism, edited by Poplawski, Paul, Greenwood, 2003, pp. 81–85.Google Scholar
Moss, Maria. “‘Writing as a Deeper Form of Concentration’: An Interview with Don DeLillo.” DePietro, 2005, pp. 155–68.Google Scholar
Müller, Jürgen E. “Perspectives for an Intermedia History of the Social Functions of Television.” Media Encounters and Media Theories, edited by Müller, Jürgen E., Nodus, 2008, pp. 201–15.Google Scholar
Münsterberg, Hugo. Hugo Münsterberg on Film: The Photoplay: A Psychological Study and Other Writings, edited by Langdale, Allan, Routledge, 2002.Google Scholar
Mullen, Bill. “A Subtle Spectacle: Televisual Culture in the Short Stories of Raymond Carver.” Critique, vol. 39, no. 2, 1998, pp. 99–114.Google Scholar
Murphet, Julian. “Gertrude Stein’s Machinery of Perception.” Murphet and Rainford, Literature, 2003, pp. 67–81.Google Scholar
Murphet, Julian. “In Theory: Stein and Film Philosophy.” Posman and Schultz, 2015, pp. 165–84.Google Scholar
Murphet, Julian and Rainford, Lydia. “Introduction.” Murphet and Rainford, Literature, 2003, pp. 1–11.Google Scholar
Murphet, Julian and Rainford, Lydia, editors. Literature and Visual Technologies: Writing after Cinema. Palgrave Macmillan, 2003.Google Scholar
Murray, Edward. The Cinematic Imagination: Writers and the Motion Pictures. Ungar, 1972.Google Scholar
Musser, Charles. “At the Beginning: Motion Picture Production, Representation and Ideology at the Edison and Lumière Companies.” Grieveson and Krämer, 2007, pp. 15–30.Google Scholar
Musser, Charles. The Emergence of Cinema: The American Screen to 1907. University of California Press, 1994.Google Scholar
Musser, Charles. “Moving Towards Fictional Narratives: Story Films Become the Dominant Product, 1903–04.” Grieveson and Krämer, 2007, pp. 87–102.Google Scholar
Musser, Charles. “The Nickelodeon Era Begins: Establishing the Framework for Hollywood’s Mode of Representation.” Elsaesser and Barker, 1990, pp. 256–73.Google Scholar
Myerson, Joel. “Price, Kenneth, ed., Walt Whitman: The Contemporary Reviews [review].” Walt Whitman Quarterly Review, vol. 14, Spring 1997, pp. 182–84.Google Scholar
Myerson, Joel, Petrulionis, Sandra Harbart, and Walls, Laura Dassow, editors. The Oxford Handbook of Transcendentalism. Oxford University Press, 2010.Google Scholar
Nadel, Alan. “American Fiction and Televisual Consciousness.” Contemporary Literature, vol. 39, no. 2, 1998, pp. 303–16.Google Scholar
Nadotti, Maria. “An Interview with Don DeLillo.” DePietro, 2005, pp. 109–18.Google Scholar
Nanney, Lisa. John Dos Passos Revisited. Twayne, 1998.Google Scholar
Newhall, Beaumont. The Daguerreotype in America. Dover, 1975.Google Scholar
Niépce, Joseph Nicéphore. “Memoire on the Heliograph.” 1839. Trachtenberg, Classic Essays, 1980, pp. 5–10.Google Scholar
Nisbet, H. B. and Rawson, Claude, editors. The Eighteenth Century. Cambridge University Press, 1997.Google Scholar
Norris, Frank. McTeague. 1899. Rinehart, 1958.Google Scholar
North, Michael. Camera Works: Photography and the Twentieth-Century Word. Oxford University Press, 2005.Google Scholar
North, Michael. Novelty: A History of the New. University of Chicago Press, 2013.Google Scholar
North, Michael. “Visual Culture.” Kalaidjian, , 2005, pp. 177–94.Google Scholar
O’Day, Marc. “Postmodernism and Television.” The Routledge Companion to Postmodernism, edited by Sim, Stuart, Routledge, 2011, pp. 112–20.Google Scholar
Ong, Walter. Orality and Literacy: The Technologizing of the Word. Methuen, 1982.Google Scholar
Orvell, Miles. American Photography. Oxford University Press, 2003.Google Scholar
Orvell, Miles. The Real Thing: Imitation and Authenticity in American Culture, 1880–1940. University of North Carolina Press, 1989.Google Scholar
Osteen, Mark. American Magic and Dread: Don DeLillo’s Dialogue with Culture. University of Pennsylvania Press, 2000.Google Scholar
Oxford English Dictionary, 2nd edn., edited by Simpson, John and Weiner, Edmund, Oxford University Press. OED Online, www.oed.com/.Google Scholar
Packer, Barbara. “The Instructed Eye: Emerson’s Cosmogony in ‘Prospects.’” Emerson’s Nature: Origin, Growth, Meaning, edited by Sealts, Merton Jr. and Ferguson, Alfred. Southern Illinois University Press, 1979, pp. 209–21.Google Scholar
Packer, Barbara. “The Transcendentalists.” Bercovitch, 1995, pp. 329–604.Google Scholar
Palmer, Alan. “Thought and Consciousness Representation (Literature).” Herman, Jahn, and Ryan, 2008, pp. 602–07.Google Scholar
Passaro, Vince. “Dangerous Don DeLillo.” DePietro, , 2005, pp. 75–85.Google Scholar
Pease, Donald E. Visionary Compacts: American Renaissance Writings in Cultural Context. University of Wisconsin Press, 1987.Google Scholar
Peirce, Charles Sanders. Peirce on Signs: Writings on Semiotic, edited by Hoopes, James, University of North Carolina Press, 1991.Google Scholar
Petitjean, Tom. “Coover’s ‘The Babysitter.’” Explicator, vol. 54, no. 1, 1995, pp. 49–51.Google Scholar
Pizer, Donald. Dos Passos’ U.S.A.: A Critical Study. University of Virginia Press, 1988.Google Scholar
Pizer, Donald. “John Dos Passos in the 1920s: The Development of a Modernist Style.” Mosaic, vol. 45, no. 4, 2012, pp. 51–67.Google Scholar
Poe, Edgar Allan. “The Daguerreotype”. 1849. Edgar Allan Poe’s Contributions to Alexander’s Weekly Messenger, edited by Brigham, Clarence Saunders, American Antiquarian Society, 1943, pp. 20–22.Google Scholar
Ponce de Leon, Charles L. That’s the Way It Is: A History of Television News in America. University of Chicago Press, 2015.Google Scholar
Posman, Sarah and Schultz, Laura Luise, editors. Gertrude Stein in Europe: Reconfigurations Across Media, Disciplines, and Traditions. Bloomsbury, 2015.Google Scholar
Postman, Neil. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. Viking, 1985.Google Scholar
Pound, Ezra. Make It New. Faber, 1934.Google Scholar
Powell, Timothy B. Ruthless Democracy: A Multicultural Interpretation of the American Renaissance. Princeton University Press, 2000.Google Scholar
Powers, Richard. The Echo Maker. Farrar, Straus, and Giroux, 2006.Google Scholar
Powers, Richard. “How to Speak a Book.” New York Times. January 7, 2007, www.nytimes.com/2007/01/07/books/review/Powers2.t.html. Accessed December 9, 2018.Google Scholar
Pressman, Jessica. “The Aesthetic of Bookishness in Twentieth-First Century Literature.” Michigan Quarterly Review, vol. 48, no. 4, 2009, pp. 465–82.Google Scholar
Pressman, Jessica. Digital Modernism: Making It New in New Media. Oxford University Press, 2014.Google Scholar
Punday, Daniel. Writing at the Limit: The Novel in the New Media Ecology. University of Nebraska Press, 2012.Google Scholar
Pynchon, Thomas. The Crying of Lot 49. Lippincott, 1966.Google Scholar
Rabb, Jane M., editor. Literature and Photography: Interactions 1840 – 1990. A Critical Anthology. University of New Mexico Press, 1995.Google Scholar
Rabinowitz, Peter J. “Showing versus Telling.” Herman, Jahn, and Ryan, , 2008, pp. 530–31.Google Scholar
Rainey, Lawrence. Institutions of Modernism: Literary Elites and Public Culture. Yale University Press, 1997.Google Scholar
Rajewsky, Irina O. “Border Talks: The Problematic Status of Media Borders in the Current Debate about Intermediality.” Elleström, , 2010, pp. 51–68.Google Scholar
Rajewsky, Irina O.. “Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality.” Intermédialités, vol. 6, 2005, pp. 43–64.Google Scholar
Reed, Ishmael. Flight to Canada. 1976. Scribner, 1998.Google Scholar
Reichardt, Ulfried, Schaefer, Heike, and Schober, Regina, editors. Network Theory and American Studies. Special issue of Amerikastudien/American Studies, vol. 60, no. 1, 2015.Google Scholar
Reiss, Hans. “The Rise of Aesthetics from Baumgarten to Humboldt.” Nisbet, and Rawson, , 1997, pp. 658–80.Google Scholar
Retallack, Joan. “What is Experimental Poetry & Why Do We Need It?” Jacket, vol. 32, 2007, pp. 1–44.Google Scholar
Reynolds, David S. Beneath the American Renaissance: The Subversive Imagination in the Age of Emerson and Melville. Oxford University Press, 2011.Google Scholar
Reynolds, David S.. Walt Whitman’s America: A Cultural Biography. Knopf, 1995.Google Scholar
Rhodes, Chip. Politics, Desire, and the Hollywood Novel. University of Iowa Press, 2008.Google Scholar
Richardson, Robert. Emerson: The Mind on Fire. University of California Press, 1995.Google Scholar
Richardson, Robert. Literature and Film. Indiana University Press, 1969.Google Scholar
Rimmon-Kenan, Shlomith. Narrative Fiction: Contemporary Poetics. Routledge, 2002.Google Scholar
Rippl, Gabriele, editor. Handbook of Intermediality: Literature, Image, Sound, Music. De Gruyter, 2015.Google Scholar
Roberts, Sarah. “An Hour in a Daguerrian Gallery.” The Amaranth, or, Token of Remembrance: A Christmas and New Year’s Gift for 1855, edited by Percival, Emily, Phillips, Sampson, and Company, Boston, 1855, pp. 211–25. The Daguerreotype: An Archive Of Source Texts, Graphics, And Ephemera, edited by Ewer, Gary, daguerreotypearchive.org/texts/B8550001_ROBERTS_AN_HOUR_AMARANTH_1855.pdf. Accessed December 9, 2018.Google Scholar
Robinson, David. “Emerson and Religion.” A Historical Guide to Ralph Waldo Emerson, edited by Myerson, Joel, Oxford University Press, 2000, pp. 151–77.Google Scholar
Rogers, William Elford. Interpreting Interpretation: Textual Hermeneutics as an Ascetic Discipline. Penn State University Press, 1994.Google Scholar
Rohrkemper, John. John Dos Passos: A Reference Guide. Hall, 1980.Google Scholar
Root, Marcus Aurelius. The Camera and the Pencil, or the Heliographic Art. Lippincott, Philadelphia, 1864.Google Scholar
Rosa, Hartmut. Social Acceleration. A New Theory of Modernity. Columbia University Press, 2013.Google Scholar
Rosa, Hartmut and Scheuerman, William E., editors. High-Speed Society. Social Acceleration, Power, and Modernity. Pennsylvania State University Press, 2009.Google Scholar
Rosen, Robert C. John Dos Passos: Politics and the Writer. University of Nebraska Press, 1981.Google Scholar
Rossi, William. “Evolutionary Theory.” Myerson, Petrulionis, and Walls, , 2010, pp. 583–96.Google Scholar
Rother, James. “Reading and Riding the Post-Scientific Wave: The Shorter Fiction of David Foster Wallace.” Review of Contemporary Fiction, vol. 13, no. 2, 1993, 216–34.Google Scholar
Rowe, John Carlos. Afterlives of Modernism: Liberalism, Transnationalism, and Political Critique. Dartmouth College Press, 2011, pp. 61–74.Google Scholar
Rowe, John. “Mao II and the War on Terrorism.” The South Atlantic Quarterly, vol. 103, no. 1, 2004, pp. 21–43.Google Scholar
Rowland, William G., Jr. Literature and the Marketplace: Romantic Writers and Their Audiences in Great Britain and the United States. University of Nebraska Press, 1996.Google Scholar
Rubin, Joseph Jay. The Historic Whitman. Pennsylvania State University Press, 1973.Google Scholar
Ruddick, Lisa. Reading Gertrude Stein: Body, Text, Gnosis. Cornell University Press, 1990.Google Scholar
Rudisill, Richard. Mirror Image: The Influence of the Daguerreotype on American Society. University of New Mexico Press, 1971.Google Scholar
Ruppersburg, Hugh and Engles, Tim, editors. Critical Essays on Don DeLillo. Hall, 2000.Google Scholar
Ruppert, Peter, editor. Ideas of Order in Literature and Film. Florida State University Press, 1980.Google Scholar
Ryan, Betsy Alayne. Gertrude Stein’s Theatre of the Absolute. University of Michigan Research Press, 1980.Google Scholar
Ryan, Marie-Laure. “Media and Narrative.” Herman, Jahn, and Ryan, , 2008, pp. 288–92.Google Scholar
Ryan, Marie-Laure. Narrative across Media: The Languages of Storytelling. University of Nebraska Press, 2004.Google Scholar
Saal, Ilka. “’The Only Possible Heroes for Our Time’: Imagining Terrorism in Postmodern Art.” America and the Orient, edited by Schaefer, Heike, Winter, 2006, pp. 249–65.Google Scholar
Saltz, Laura. “Natural/Mechanical. Keywords in the Conception of Early Photography.” Photography and Its Origin, edited by Sheehan, Tanya and Zervigón, Andrés Mario, Routledge, 2015, pp. 195–207.Google Scholar
Samuels, Shirley, editor. A Companion to American Fiction, 1780–1865. Blackwell, 2004.Google Scholar
Sanchez-Eppler, Karen. “To Stand Between: A Political Perspective on Whitman’s Poetics of Merger and Embodiment.” ELH, vol. 56, no. 4, 1989, pp. 923–49.Google Scholar
Sanders, David. “John Dos Passos”. 1969. Passos, Dos, Major Nonfictional Prose, 1988, pp. 241–52.Google Scholar
Sanders, James. Celluloid Skyline: New York and the Movies. Alfred A. Knopf, 2001.Google Scholar
Sandweiss, Martha A, editor. Photography in Nineteenth-Century America. Amon Carter Museum and Abrams, 1991.Google Scholar
Scanlan, Margaret. Plotting Terror: Novelist and Terrorists in Contemporary Fiction. University of Virginia Press, 2001.Google Scholar
Scannell, Paddy. “Television and History.” Wasko, , Companion, 2005, pp. 51–66.Google Scholar
Schaefer, Heike. “The Cinema and Modernist Innovation: Serial Representation and Cinematic Immediacy Effects in Gertrude Stein’s Early Portraits.” The Visual Culture of Modernism, edited by Madsen, Deborah L. and Klarer, Mario. Narr, 2011, pp. 169–83.Google Scholar
Schaefer, Heike. “Nature, Media Culture, and the Transcendentalist Quest for the Real.” America after Nature: Democracy, Culture, Environment, edited by Gersdorf, Catrin and Braun, Juliane. Winter, 2016, pp. 311–30.Google Scholar
Schaefer, Heike. “Poetry in Transmedial Perspective: Rethinking Intermedial Literary Studies in the Digital Age.” Intermediality, Narrativity, Emotion, edited by Petho, Agnes. Acta Universitatis Sapientiae, Film and Media Studies, vol. 10, 2015, pp. 169–82.Google Scholar
Schaefer, Heike. “Reading and Teaching Avant-garde Modernist Literature from a Comparative Media Perspective.” Modernities and Modernization in North America, edited by Brasch, Ilka and Mayer, Ruth. Winter, 2019, pp. 85–100.Google Scholar
Schaefer, Heike. “Wie erzählt man vom Augenblick? Präsenzeffekte, Serialität und ‘Zeit-Wissen’ in Gertrude Steins literarischen Kurzportraits.” Kurz & Knapp: Erzählen und Wissen in kleinen Formen, edited by Gamper, Michael and Mayer, Ruth. transcript, 2017, pp. 109–27.Google Scholar
Schaefer, Heike and Starre, Alexander, editors. The Printed Book in Contemporary American Culture: Medium, Object, Metaphor. Palgrave, 2019.Google Scholar
Schirmeister, Pamela. Less Legible Meanings: Between Poetry and Philosophy in the Work of Emerson. Stanford University Press, 2000.Google Scholar
Schivelbusch, Wolfgang. The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century. University of California Press, 2014.Google Scholar
Schleifer, Ronald. Modernism and Time: The Logic of Abundance in Literature, Science, and Culture, 1880–1930. Cambridge University Press, 2000.Google Scholar
Schlesinger, Philip. “Terrorism.” Smith, and Paterson, , 1998, pp. 132–43.Google Scholar
Schneck, Peter. “Image Fictions: Literature, Television, and the End(s) of Irony.” Amerikastudien/American Studies, vol. 46, no. 3, 2001, pp. 409–28.Google Scholar
Schneck, Peter. “‘To See Things Before Other People See Them’: DeLillo’s Visual Poetics.” Amerikastudien/American Studies, vol. 52, no. 1, 2007, 103–20.Google Scholar
Schoenbach, Lisi. Pragmatic Modernism. Oxford University Press, 2015.Google Scholar
Schwartz, Sanford. The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought. Princeton University Press, 2016.Google Scholar
Seed, David. Cinematic Fictions. Liverpool University Press, 2009.Google Scholar
Seldes, Gilbert. Writing for Television. Doubleday, 1952.Google Scholar
Shea, Daniel B. “Emerson and the American Metamorphosis.” Levin, Emerson, 1975, pp. 29–56.Google Scholar
Shiach, Morag, editor. The Cambridge Companion to the Modernist Novel. Cambridge University Press, 2007.Google Scholar
Shiel, Mark and Fitzmaurice, Tony, editors. Screening the City. Verso, 2003.Google Scholar
Shloss, Carol. In Visible Light: Photography and the American Writer, 1840–1940. Oxford University Press, 1987.Google Scholar
Silberman, Steve. “Scientific Fiction.” Wired, vol. 14, no. 11, 2006, wired.com/2006/11/scientific-fiction. Accessed December 9, 2018.Google Scholar
Sill, Geoffrey M. and Tarbell, Roberta K., editors. Walt Whitman and the Visual Arts. Rutgers University Press, 1992.Google Scholar
Simmel, Georg. “Die Großstädte und das Geistesleben.” Die Großstadt. Vorträge und Aufsätze zur Städteausstellung, edited by Petermann, Theodor, Jahn und Jaensch, 1903, pp. 185–206.Google Scholar
Simmons, Philip E. Deep Surfaces: Mass Culture and History in Postmodern American Fiction. University of Georgia Press, 1997.Google Scholar
Simmons, Ryan. “What Is a Terrorist? Contemporary Authorship, the Unabomber, and Mao II.” Modern Fiction Studies, vol. 45, no. 3, 1999, pp. 674–95.Google Scholar
Simpson, David. “Transcendental Philosophy and Romantic Criticism.” Romanticism, edited by Brown, Marshall, Cambridge University Press, 2000, pp. 72–91. Vol. 5 of The Cambridge History of Literary Criticism.Google Scholar
Singal, Daniel. “Towards a Definition of American Modernism.” Modernist Culture in America. Special issue of American Quarterly, vol. 39, no. 1, 1987,pp. 7–26.Google Scholar
Singer, Ben. Melodrama and Modernity: Early Sensational Cinema and Its Contexts. Columbia University Press, 2001.Google Scholar
Sitney, P. Adams. Modernist Montage: The Obscurity of Vision in Cinema and Literature. Columbia University Press, 1990.Google Scholar
Smith, Anthony with Paterson, Richard, editors. Television: An International History. Oxford University Press, 1998.Google Scholar
Sobchack, Vivian. “The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence.’” Miller and Stam, 2000, pp. 67–84.Google Scholar
Soltow, Lee and Stevens, Edward. The Rise of Literacy and the Common School in the United States: A Socioeconomic Analysis to 1870. University of Chicago Press, 1981.Google Scholar
Sontag, Susan. On Photography. Picador, 1973.Google Scholar
Spindler, Michael. “John Dos Passos and the Visual Arts.” Journal of American Studies, vol. 15, no. 3, 1981, pp. 391–405.Google Scholar
Stam, Robert. “Film Language/Specificity.” Miller and Stam, 2000, pp. 31–37.Google Scholar
Stam, Robert. “The Question of Realism.” Miller and Stam, 2000, pp. 223–28.Google Scholar
Stam, Robert. “Television News and Its Spectator.” Miller and Stam, 2000, pp. 361–80.Google Scholar
Stein, Gertrude. The Autobiography of Alice B. Toklas. Harcourt, 1933.Google Scholar
Stein, Gertrude. “Composition as Explanation”. 1926. Stein, Writings 1903–1932, 1998, pp. 520–29.Google Scholar
Stein, Gertrude. Everybody’s Autobiography. Random House, 1937.Google Scholar
Stein, Gertrude. The Gertrude Stein Reader, edited by Kostelanetz, Richard. Cooper Square Press, 2002.Google Scholar
Stein, Gertrude. Gertrude Stein Reads from Her Works. Caedmon Audio, 1996.Google Scholar
Stein, Gertrude. “How Writing is Written”. 1935. Stein, Gertrude Stein Reader, 2002, pp. 438–49.Google Scholar
Stein, Gertrude. Lectures in America. 1935. Beacon, 1985.Google Scholar
Stein, Gertrude. The Making of Americans. 1925. Dalkey Archive Press, 1995.Google Scholar
Stein, Gertrude. “Mrs. Emerson.” Close Up, vol. 1, no. 2., August 1927, pp. 23–29.Google Scholar
Stein, Gertrude. Operas and Plays. Station Hill Press, 1987.Google Scholar
Stein, Gertrude. “Orta.” Stein, Writings 1903–1932, 1998, pp. 285–303.Google Scholar
Stein, Gertrude. “Picasso.” Stein, Writings 1903–1932, 1998, pp. 282–84.Google Scholar
Stein, Gertrude. “Portraits and Repetition.” Stein, Lectures, 1935, pp. 165–206.Google Scholar
Stein, Gertrude. Tender Buttons. Claire Marie, 1914.Google Scholar
Stein, Gertrude. Three Lives: Stories of The Good Anna, Melanctha and The Gentle Lena. Grafton Press, 1909.Google Scholar
Stein, Gertrude. “Three Sitting Here.” Close Up, vol. 1, no. 3, September 1927, and continued in vol. 1, no. 4, October 1927, pp. 17–25.Google Scholar
Stein, Gertrude. Two: Gertrude Stein and Her Brother and Other Early Portraits [1908–12], vol. 1 of Unpublished Works of Gertrude Stein. Yale University Press, 1951.Google Scholar
Stein, Gertrude. Writings 1903–1932, edited by Stimpson, Catharine R. and Chessman, Harriet, Library of America, 1998.Google Scholar
Stein, Gertrude. Writings 1932–1946, edited by Stimpson, Catharine R. and Chessman, Harriet, Library of America, 1998.Google Scholar
Stein, Lorin. “David Foster Wallace: In the Company of Creeps.” Publishers Weekly, vol. 3, May, 1999, pp. 52–53.Google Scholar
Steiner, Wendy. Exact Resemblance to Exact Resemblance: The Literary Portraiture of Gertrude Stein. Yale University Press, 1978.Google Scholar
Steiner, Wendy. “Introduction.” Stein, Lectures, 1935, pp. ix–xxvii.Google Scholar
Sterling, Christopher H. and Kittross, John Michael. Stay Tuned: A History of American Broadcasting. Lawrence Erlbaum Associates, 2002.Google Scholar
Stewart, Garrett. Between Film and Screen: Modernism’s Photo Synthesis. University of Chicago Press, 2008.Google Scholar
Stieglitz, Alfred. “Editorial.” Camera Work: The Complete Illustrations 1903–1917. Taschen, 1997, pp. 660–61.Google Scholar
Strand, Paul and Sheeler, Charles. Manhatta. 1921. Picturing a Metropolis: New York City Unveiled. Unseen Cinema: Early American Avant-Garde Film; 1894–1941. Image Entertainment, 2005.Google Scholar
Strauven, Wanda, editor. The Cinema of Attractions Reloaded. Amsterdam University Press, 2007.Google Scholar
Stuart, Henry Longan. “Manhattan Transfer.” New York Times Book Review 29, November 1925, pp. 5, 10. Maine, , 1988, pp. 64–67.Google Scholar
Sturken, Marita and Cartwright, Lisa. Practices of Looking: An Introduction to Visual Culture. Oxford University Press, 2001.Google Scholar
Suárez, Juan A. “City Space, Technology, Popular Culture: The Modernism of Paul Strand and Charles Sheeler’s Manhatta.” Journal of American Studies, vol. 36, no. 1, 2002, pp. 85–106.Google Scholar
Suárez, Juan A.. “John Dos Passos’s USA and Left Documentary Film in the 1930s: The Cultural Politics of ‘Newsreel’ and ‘The Camera Eye.’” American Studies in Scandinavia, vol. 31, no. 1, 1999, pp. 43–67.Google Scholar
Sweet, Timothy. Traces of War: Poetry, Photography, and the Crisis of the Union. John Hopkins University Press, 1990.Google Scholar
Taft, Robert. Photography and the American Scene: A Social History, 1839–1889. 1938. Dover, 1964.Google Scholar
Talbot, William Fox, Henry. The Pencil of Nature. Longman, Brown, Green & Longman, London, 1844.Google Scholar
Tarbell, Roberta K. “Walt Whitman and the Visual Arts.” A Historical Guide to Walt Whitman, edited by Reynolds, David S., Oxford University Press, 2000, pp. 153–203.Google Scholar
Tate, Allen. “Good Prose.” Nation, vol. 122, no. 3162, 1926, pp. 160–61.Google Scholar
Tebbel, John. Between Covers: The Rise and Transformation of Book Publishing in America. Oxford University Press, 1987.Google Scholar
Thompson, Cameron. “John Locke and New England Transcendentalism.” American Transcendentalism: An Anthology of Criticism, edited by Barbour, Brian, University of Notre Dame Press, 1973, pp. 83–102.Google Scholar
Thompson, Kristin. “The Formulation of the Classical Style, 1909–28.” The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Bordwell, David, Staiger, Janet, Thompson., Kristin Columbia Press, 1985, pp. 155–240.Google Scholar
Thompson, Kristin and Bordwell, David. Film History: An Introduction. McGraw-Hill, 2003.Google Scholar
Thoreau, Henry David. The Maine Woods. 1864. Penguin, 1988.Google Scholar
Tichi, Cecelia. Electronic Hearth: Creating an American Television Culture. Oxford University Press, 1991.Google Scholar
Tichi, Cecelia. Shifting Gears: Technology, Literature, Culture in Modernist America. University of North Carolina Press, 1987.Google Scholar
Tichi, Cecelia. “Television and Recent American Fiction.” American Literary History, vol. 1, no. 1, 1989, pp. 110–30.Google Scholar
Tischler, Alyson. “A Rose Is a Pose: Steinian Modernism and Mass Culture.” Journal of Modern Literature, vol. 26, no. 3–4, 2003, pp. 12–27.Google Scholar
Tomlinson, John. The Culture of Speed: The Coming of Immediacy. Sage, 2007.Google Scholar
Tompkins, Jane. Sensational Designs: The Cultural Work of American Fiction, 1790–1860. Oxford University Press, 1985.Google Scholar
Tracey, Michael. “Non-Fiction Television.” Smith and Paterson, 1998, pp. 69–84.Google Scholar
Trachtenberg, Alan. “Likeness as Identity: Reflections on the Daguerrean Mystique.” The Portrait in Photography, edited by Clarke, Graham, Reaktion Books, 1992, pp. 173–92.Google Scholar
Trachtenberg, Alan. “The Modernist City of Film Noir: The Case of Murder, My Sweet.” American Modernism Across the Arts, edited by Bochner, Jay and Edwards, Justin D., Peter Lang, 1999, pp. 284–302.Google Scholar
Trachtenberg, Alan. Reading American Photographs: Images as History, Mathew Brady to Walker Evans. Hill and Wang, 1990.Google Scholar
Trachtenberg, Alan., editor. Classic Essays on Photography. Leete’s Island Books, 1980.Google Scholar
Traubel, Horace. With Walt Whitman in Camden. Vols. 1–3. 1906–14. Rowman & Littlefield, 1961; Vol. 4 University of Pennsylvania Press, 1953; Vols. 5–7 Southern Illinois University Press, 1964–92; Vols. 8–9 Bentley, 1996.Google Scholar
Trotter, David. Cinema and Modernism. Blackwell, 2007.Google Scholar
Ushenko, Andrew. “Esthetic Immediacy.” The Journal of Philosophy, vol. 38, no. 3, 1941, pp. 68–72.Google Scholar
Vanderwerken, David L. “Manhattan Transfer: Dos Passos’ Babel Story.” American Literature, vol. 49, no. 2, 1977, pp. 253–67.Google Scholar
Veblen, Thorstein. The Theory of the Leisure Class. Macmillan, 1899.Google Scholar
Veggian, Henry. Understanding Don DeLillo. University of South Carolina Press, 2015.Google Scholar
Vertov, Dziga, director. Kino-Eye. 1924. Image Entertainment, 2000.Google Scholar
Vertov, Dziga, director. The Man with the Movie Camera. 1929. Image Entertainment, 2002.Google Scholar
Vonnegut, Kurt. Slaughterhouse-Five. Dell, 1966.Google Scholar
Wagner, Linda. Dos Passos: Artist as American. University of Texas Press, 1979.Google Scholar
Walker, Jayne L. The Making of a Modernist: Gertrude Stein from Three Lives to Tender Buttons. University of Massachusetts Press, 1984.Google Scholar
Wallace, David Foster. “E Unibus Pluram: Television and U.S. Fiction.” Review of Contemporary Fiction, vol. 13, no. 2, 1993, pp. 151–94.Google Scholar
Wallace, David. Girl with Curious Hair. Norton, 1989.Google Scholar
Wallace, David. “Little Expressionless Animals.” Girl with Curious Hair. Norton, 1989, pp. 1–42.Google Scholar
Wallace, David. “My Appearance.” Girl with Curious Hair. Norton, 1989, pp. 173–201.Google Scholar
Wallace, David Walt Whitman Archive. “Contemporary Reviews.” General editors Ed Folsom, Kenneth M. Price, www.whitmanarchive.org/criticism/reviews/index.html. Accessed December 9, 2018.Google Scholar
Wallace, David. “Gallery of Images.” General editors Ed Folsom, Kenneth M. Price, www.whitmanarchive.org/multimedia/gallery.html. Accessed December 9, 2018.Google Scholar
Warren, James Perrin. “Style.” Kummings, , 2006, pp. 377–91.Google Scholar
Wasko, Janet. “Introduction.” Wasko, Companion, 2005, pp. 1–12.Google Scholar
Wasko, Janet., editor. A Companion to Television. Blackwell, 2005.Google Scholar
Weinstock, E .B. “Robert Coover – ‘The Babysitter’: An Observation on Experimental Writing.” Style, vol. 9, no. 3, 1975, pp. 378–87.Google Scholar
Welling, William. Photography in America: The Formative Years, 1839–1900. Thomas Y. Crowell Company, 1978.Google Scholar
White, Hayden. The Content of the Form: Narrative Discourse and Historical Representation. John Hopkins University Press, 1987.Google Scholar
Whitman, Walt. Complete Poems & Prose, 1855–1888. Ferguson Bros. & Co., Philadelphia, 1888.Google Scholar
Whitman, Walt. Complete Poetry and Collected Prose, edited by Kaplan, Justin, Literary Classics of the United States, Viking Press, 1982.Google Scholar
Whitman, Walt. The Complete Prose Works of Walt Whitman, edited by Bucke, Richard Maurice, Harned, Thomas B., Traubel, Horace C., Paumanok Edition, Putnam’s Sons, 1902.Google Scholar
Whitman, Walt. The Gathering of the Forces: Editorials, Essays, Literary and Dramatic Reviews and Other Material Written as Editor of the Brooklyn Daily Eagle in 1846 and 1847, vol. 2, edited by Rodgers, Cleveland and Black, John, Putnam’s, 1920.Google Scholar
Whitman, Walt. Leaves of Grass. A Norton Critical Edition, edited by Bradley, Sculley and Blodgett, Harold W., Norton, 1973.Google Scholar
Whitman, Walt. Leaves of Grass. 1855. Walt Whitman Archive. General editors Ed Folsom, Kenneth M. Price, www.whitmanarchive.org/published/LG/1855/poems/2.html. Accessed December 9, 2018.Google Scholar
Whitman, Walt. “Leaves of Grass—an Extraordinary Book.” Brooklyn Daily Eagle, September 15, 1855: 2. Walt Whitman Archive. General editors Folsom, Ed, Price, Kenneth M., www.whitmanarchive.org/criticism/reviews/lg1855/anc.00012.html. Accessed December 9, 2018.Google Scholar
Whitman, Walt. “Notes on the Meaning and Intention of ‘Leaves of Grass.’” Whitman, , Complete Prose Works, vol. 9, 1902, pp. 3–44.Google Scholar
Whitman, Walt. November Boughs. David McKay, Philadelphia, 1888.Google Scholar
Whitman, Walt. “Perfection of Miniature Taking.” Brooklyn Daily Eagle, September 16, 1846: 2. NYS Historic Newspapers, www.nyshistoricnewspapers.org/lccn/sn83031149/1846–09-16/ed-1/seq-2/. Accessed December 9, 2018.Google Scholar
Whitman, Walt. Specimen Days & Collect. Rees Welsh & Co., Philadelphia, 1882.Google Scholar
Whitman, Walt. Two Rivulets. Author’s edition, Camden, 1876.Google Scholar
Whitman, Walt. “Visit to Plumbe’s Gallery.” Brooklyn Daily Eagle, vol. 5, no. 160, 2 July 1846: front page. Whitman, The Gathering of the Forces, vol. 2, pp. 113–17.Google Scholar
Williams, Iain. “(New) Sincerity in David Foster Wallace’s ‘Octet’”. Critique, vol. 56, no. 3, 2015, pp. 299–314.Google Scholar
Williams, Linda, editor. Viewing Positions: Ways of Seeing Film. Rutgers University Press, 1995.Google Scholar
Williams, Raymond. Marxism and Literature. Oxford University Press, 1977.Google Scholar
Williams, Raymond. Television: Technology and Cultural Form. Routledge, 1990.Google Scholar
Williams, Susan S. Confounding Images: Photography and Portraiture in Antebellum American Fiction. University of Pennsylvania Press, 1997.Google Scholar
Williams, William Carlos. The Collected Poems of William Carlos Williams. 1939–1962, vol. 2, edited by Christopher, MacGowan. New Directions, 1991.Google Scholar
Winship, Michael. American Literary Publishing in the Mid-nineteenth Century: The Business of Ticknor and Fields. Cambridge University Press, 2003.Google Scholar
Winter, Ella. “Gertrude Stein Comma.” Pacific Weekly, vol. 2, April, 1935, pp. 172–73. Curnutt, , 2000, pp. 82–85.Google Scholar
Winthrop-Young, Geoffrey and Wutz, Michael. “Translators’ Introduction.” Kittler, Gramophone, 1986, pp. xi–xxxviii.Google Scholar
Wolf, Werner. “The Relevance of Mediality and Intermediality to Academic Studies of English Literature.” Mediality/Intermediality, edited by Heusser, Martin, Fischer, Andreas and Jucker, Andreas H., Narr, 2008, pp. 15–43.Google Scholar
Wood, Gillen D’Arcy. The Shock of the Real. Palgrave, 2001.Google Scholar
Wood, Michael. “Modernism and Film.” Levenson, Cambridge Companion, 1999, pp. 217–32.Google Scholar
Wordsworth, William. “Preface.” Lyrical Ballads: Wordsworth and Coleridge, edited by Brett, R. L. and Jones, A. R., Routledge, 1991, pp. 233–58.Google Scholar
Zeller, Bob. The Blue and Gray in Black and White: A History of Civil War Photography. Praeger, 2005.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Heike Schaefer
  • Book: American Literature and Immediacy
  • Online publication: 19 December 2019
  • Chapter DOI: https://doi.org/10.1017/9781108766630.014
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Heike Schaefer
  • Book: American Literature and Immediacy
  • Online publication: 19 December 2019
  • Chapter DOI: https://doi.org/10.1017/9781108766630.014
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Heike Schaefer
  • Book: American Literature and Immediacy
  • Online publication: 19 December 2019
  • Chapter DOI: https://doi.org/10.1017/9781108766630.014
Available formats
×