...Maud Ellmann For Britons during World War II, war was in the air, in the form of bombing raids, but also on the air, in the form of news and propaganda on the radio. “Everyday War” shows how Virginia Woolf and Sylvia Townsend Warner respond to war in the air by turning to the English countryside...

...Julie Beth Napolin [email protected] Daniel Ryan Morse , Radio Empire: The BBC's Eastern Service and the Emergence of the Global Anglophone Novel ( New York : Columbia UP , 2021 ), pp. 288 , paper, $35.00 . Copyright © 2022 by Novel, Inc. 2022 When in the 1930s...

....: E4 . “Jane Austen Mania.” Radio Times . National Public Radio. WHYY, Philadelphia, 20 Aug. 2007 . Jensen , Elizabeth . “‘Masterpiece Theater,’ Now in Three Flavors: Classic, Mystery, Contemporary.” New York Times 10 Dec. 2007 , late ed.: E3 . King , Geoff . New...

... suggestive associations in two important ways. First, the memoirs of clinical patients often express the same delusions as modernist fantasies concerning such phenomena as the loss of connection between bodily feeling and mind; paranoia concerning new media, especially radio, controlling our thoughts...

... Trade. Prod. Trevor Phillips and Phillip Whitehead. Made by Pepper Productions and Brook Lapwing for Channel 4. Broadcast October 3,10,17, 24, 1999. Radio Times, 2–8 May 1998. Radio Times, 18–24 April 1998. Radway , Janice . Reading the Romance: Women, Patriarchy, and Popular Literature...

... the tremendous events that were to follow." Far more prescient was Masterman's inkling that the medhrm was increasingly becoming the message, so that he quickly, if hesitantly and sometimes ineptly, turned from literature to the popular press, photography, dnema and radio. It was, says Wollaeger...

... conversations, provid- ing vocabularies for debate and models in discourses on politics, romance, and disease much more than do television and radio. Television and radio have wider audiences, but here they often function as conduits for a discourse that has already been circulated in novels. ...

... at the Institute of Contemporary Arts in London, where we had this radio transmission unit. It was modeled on [Jean] Cocteau's Orphée , it was modeled on William Burroughs's cutups, and I was reading a lot about the figure of the crypt and the relationship between new media and death and practices of mourning...

.... . Cults and New Religions: A Brief History . Malden : Blackwell , 2008 . Daisey Mike . “Mr. Daisey and the Apple Factory.” This American Life . National Public Radio . 6 Jan. 2012 < http://www.thisamericanlife.org/radio-archives/episode/454/mr-daisey-and-the-apple-factory...

... their wisdom and challenge their authority-and by so doing reveal often unexpected likenesses and relationships. King tells his stories through novels, short stories, photographs, a children's book, a popular radio program, film. critical articles, and television appearances. The authors...

... in America. Comics were selling between eighty million and a hundred million copies every week, with a typical issue passed along or traded to six to ten readers, thereby reaching more people than movies, television, radio, or magazines for adults” (5). 3 Rourke uses the word resilience...

...” imagines point-to-point radio communication before its prop- erties were fully understood or its implementation made practical. Brontë’s climax turns on what Menke names “the cosmic telegram” (Brontë: “I saw nothing: but I heard a voice somewhere cry—‘Jane! Jane! Jane!’ Nothing more a telepathy...

... and theological interpretations. When we ask what reading can do, we are implicitly distinguishing it from other activities. What can reading do that watching a film can’t do, that listen- ing to the radio can’t do, that taking a walk in the park can’t do, that attending a political rally can’t do...

... theorized in terms of radio “transmission” by Douglas Kahn as a way of reconciling verbal “inscription” with sound “vibration”: “Figures of transmission combined aspects of both vibration and inscription, fusing the spatial features of vibration with the objecthood and corporeality of inscription...

... by Ames’s rumination on nascent radio and television evangelical broadcasting. As he writes, I blame the radio for sowing a good deal of confusion where theology is concerned. And television is worse. You can spend forty years teaching people to be awake to the fact of mystery...

... pressure from another, culturally different, world to come. As the staging of cultural difference masked realpolitik ambitions (in Iran, Turkey, India), the literary word would morph into sound byte—heard in fragments from the pulpit, on television, on the radio. Rushdie's complex theory of the stereotype...

... with Trump's fictitious mode than were commentators—indeed, that they had overcome any discomfort or sense of bad faith they might once have felt about voting for a candidate in whom they did not believe. A radio interview with a former coal miner who voted for Trump despite doubting that he would or could...

... musi- cian and ghostwriter, and an Irish nuclear physicist. The somewhat anomalous penultimate section narrates the broadcasts of a call-in radio show called “Night Train”; it introduces the Howard Stern–like DJ called Bat Segundo, along with yet another noncorpum: a digital entity called...

... were shifting underneath his writers’ feet thanks to technology, mass visuality, radio, depressions, and war. That the figures he scrutinizes mostly condemned the modernists for their participation in the market does not explain why Rosenquist himself stays clear of material forces to the extent...

...Scott W. Klein Other chapters address young Caribbean authors working in London after World War II—George Lamming, Sam Selvon, V. S. Naipaul—and the importance of literary institutions such as the BBC radio show Caribbean Voices (recorded in England and broadcast on the BBC's Caribbean Service...