Relevant bibliographies by topics / R. Murray Schafer

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'R. Murray Schafer'

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Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "R. Murray Schafer"

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Paynter, J. "Personalities in World Music Education No. 13- R. Murray Schafer." International Journal of Music Education 18, no. 1 (November 1, 1991): 40–44. http://dx.doi.org/10.1177/025576149101800105.

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Goldman, Jonathan. "Bibliographie sélective des articles et des ouvrages musicologiques sur R. Murray Schafer." Circuit: Musiques contemporaines 11, no. 2 (2000): 77. http://dx.doi.org/10.7202/004672ar.

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Kohut, Tom. "Noise Pollution and the Eco-Politics of Sound: Toxicity, Nature and Culture in the Contemporary Soundscape." Leonardo Music Journal 25 (December 2015): 5–8. http://dx.doi.org/10.1162/lmj_a_00924.

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Sound is a political question of which the antagonisms of noise pollution are a concrete embodiment. The discourses of noise pollution tend to postulate noise as a toxin that is produced by our industrial societies and is difficult either to contain or even define precisely. Composer R. Murray Schafer contrasts this toxin with a sustaining nature, but ecological thought of the past decade suggests that nature is, in fact, unnatural. The field recordings of Chris Watson and Francisco López suggest that this natural perversity can indicate a new mode of sonic ecological sustainability.
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Elliott, Robin. "Neglected Canadian Orchestral Music." Articles 33, no. 2 (August 19, 2015): 127–39. http://dx.doi.org/10.7202/1032699ar.

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This article examines neglected orchestral works by six Canadian composers: Rodolphe Mathieu, Colin McPhee, John Weinzweig, Harry Somers, Istvan Anhalt, and R. Murray Schafer. Despite the considerable professional accomplishments and career achievements of these composers, each has at least one orchestral work in his catalogue that failed to make a good impression with the musical public or has never been heard in live performance. The article attempts to find why these compositions did not win a place in the repertoire and also considers how these works illustrate broader issues relating to the Canadian orchestral repertoire.
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Sweeney, Elizabeth. "Walking with Janet Cardiff, Sitting with Massimo Guerrera, and Eating Apples with R. Murray Schafer." Journal of Museum Education 34, no. 3 (September 2009): 235–48. http://dx.doi.org/10.1080/10598650.2009.11510640.

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Flusser, Victor. "An ethical approach to music education." British Journal of Music Education 17, no. 1 (March 2000): 43–50. http://dx.doi.org/10.1017/s0265051700000139.

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Reflecting upon the relationship between people and music, the author is led to adopt a new position on musical education. His ideas are based on the work of the philosopher Hannah Arendt, the pedagogue and paediatrician, Janusz Korczak, and the composer R. Murray Schafer – all of whom focus upon the ‘dialogue’ of education. From Korczak is borrowed the idea of the child as ‘a present-state being’ rather than a ‘future-state being’; from Arendt the concepts of labour, work and action; and from Schafer his ‘Wolf Project’ for a musical community. On the basis of these three influences, the author advocates a ‘new manner of enacting music’ instead of ‘simply enacting new music’, basing pedagogic practice on a psycho-analytical approach to education. The pupil–teacher relationship turns on identification and projection. Teachers must nurture pupils' aesthetic choices and opinions as well as their commitment, so that ethical and aesthetic considerations can be brought together in the same musical act. Only in this way can musical education be worthwhile.
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Flett, Graham. "My Life on Earth & Elsewhere by R. Murray Schafer. The Porcupine's Quill, 2013. €4.99 (CAD)." Tempo 68, no. 269 (June 18, 2014): 92–94. http://dx.doi.org/10.1017/s0040298214000230.

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Truax, Barry. "Sound, Listening and Place: The aesthetic dilemma." Organised Sound 17, no. 3 (January 11, 2012): 193–201. http://dx.doi.org/10.1017/s1355771811000380.

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A purely aesthetic approach may be problematic when artists wish to deal with the external world as part of their work. The work of R. Murray Schafer in formulating soundscape studies is described, as well as the author's extension of that work within a communicational framework. Soundscape composition is situated within a continuum of possibilities, each with its own practice of mapping or representing the world. Current technological possibilities as well as ethical issues involved in the production process are discussed, along with the author's work in creating a multi-channel imaginary soundscape. The evolving nature of the listener's relationship to acoustic space over the last century is discussed in comparison to developments in soundscape composition.
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Botella Nicolás, Ana María. "El paisaje sonoro como Arte Sonoro." Cuadernos de Música, Artes Visuales y Artes Escénicas 15, no. 1 (December 21, 2019): 112–25. http://dx.doi.org/10.11144/javeriana.mavae15-1.epsc.

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El concepto de paisaje sonoro o soundscape acuñado por primera vez por el canadiense R. Murray Schafer en 1933 se basa en la defensa del valor del silencio y del sonido por sí mismo como fuente de creatividad. El objetivo principal del artículo es reflexionar sobre el concepto de paisaje sonoro como arte sonoro y reseñar las sinergias entre naturaleza y paisaje a través de la concepción de estos en la historia. Se plantea la paradoja del ruido como música y la incógnita del orden primigenio del sonido. Se incide en el valor emocional del paisaje sonoro y su utilidad como herramienta didáctica. Cuando se comprende la noción de Pauline Oliveros (1932-2016) con la escucha profunda y la falta de práctica de la escucha activa, se pone de manifiesto la pérdida de instintos naturales de los humanos. También se pone en valor la utilidad para monitorear la naturaleza, de estricta necesidad en los últimos tiempos. Y, en especial, se refleja el arte que proviene de ese marco natural. Para ello, se ha utilizado el análisis del discurso como metodología, apoyada en artistas sonoros como Murray Schafer o John Cage, pero también en José Val del Omar o en Llorenç Barber, músicos que abrieron nuevas formas y percepciones del sonido, por ende, ajenos a cánones clásicos y academicistas. Las conclusiones apuntan a que no es fácil encontrar el nuevo arte transversal en auditorios de programación regular, pero sí en festivales específicos y, en especial, a nuestro alrededor, en la naturaleza.
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Schrimshaw, Will. "The Tone of Prime Unity." Organised Sound 23, no. 2 (July 31, 2018): 208–17. http://dx.doi.org/10.1017/s1355771818000080.

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In The Soundscape, R. Murray Schafer describes a tone of ‘prime unity’, a tonal centre conditioning an international sonic unconscious. Diverging from the bucolic image of nature readily associated with Schafer’s ethics and aesthetics, this tone is found in the ubiquitous hum of electrical infrastructure and appliances. A utopian potential is ascribed to this tone in Schafer’s writing whereby it constitutes the conditions for a unified international acoustic community of listening subjects.This article outlines Schafer’s anomalous concept of the tone of prime unity and interrogates the contradictions it introduces into Schafer’s project of utopian soundscape design. Discussion of the correspondence between Schafer and Marshall McLuhan contextualises and identifies the source of Schafer’s concept of the tone of prime unity. Of particular interest is the processes of unconscious auditory influence this concept entails and its problematic relation to the politics of sonic warfare. Through discussion of contemporary artistic practices that engage with these problems, it is argued that the tone of prime unity nonetheless presents an opportunity to shift the focus of Schafer’s project from a telos of divine harmony towards collective self-determination through participatory intervention in the world around us.
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Dissertations / Theses on the topic "R. Murray Schafer"

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Waterman, Ellen Frances Schafer R. Murray. "R. Murray Schafer's environmental music theatre : a documentation and analysis of Patria the epilogue: And wolf shall inherit the moon /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9732703.

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Thesis (Ph. D.--Music--University of California, San Diego, 1997.
Vita. "The complete script of And wolf shall inherit the moon and a comprehensive collection of chants written by Wolf Project members are included as appendices."--P. xiv. Includes ninth draft of And wolf shall inherit the moon (leaves 403-446). Includes bibliographical references (leaves 498-501). Includes selected bibliography and works list for R. Murray Schafer (leaves 502-512).
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Abreu, Thiago Xavier de [UNESP]. "EPHTAH!: das ideias pedagógicas de Murray Schafer." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110656.

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O presente trabalho tem por objetivo discutir as ideias pedagógicas de Murray Schafer. Consideramos “ideias pedagógicas” a filosofia educacional que orienta e que é substância da atividade prática de ensino. Por meio de revisão bibliográfica de obras de Schafer, de periódicos especializados e de literatura relacionada a estas obras, formatamos três eixos centrais que permeiam suas ideias pedagógicas: a ecologia, a experiência espiritual e a experiência estética. Cada um deles foi considerado como consequência de um desdobramento histórico, o qual gera concepções filosóficas a partir de um processo de contradição entre ideias. Sendo assim, discutimos a ecologia e a experiência espiritual por meio da dicotomia entre o pensamento mecanicista e o pensamento ecológico, isto é, a relação ligação/separação entre o homem e a totalidade. A experiência estética foi considerada pelo prisma educacional, e analisada pela dicotomia entre as correntes pedagógicas que partem de um ideal de homem para erigir propostas educacionais (pedagogias da essência) e as que tomam o homem como ele realmente é (pedagogias da existência). Toda esta análise foi relacionada à obra de Murray Schafer, inserindo-o no contexto das referidas dicotomias. Isso nos mostra, tanto a construção de sua visão de mundo, quanto a estrutura, os objetivos e as reflexões que subjazem a sua prática educacional. Suas ideias pedagógicas apontam para um padrão de interação entre os eixos discutidos: a sacralização da experiência estética da paisagem sonora como mediadora da relação ecológica entre o indivíduo e o todo, ou seja, uma relação espiritual entre a arte e o indivíduo como meio de conexão entre ele e a totalidade, entendida aqui da perspectiva ecológica. Pretendemos que este trabalho auxilie na atividade pedagógica de professores que tomam as concepções educacionais de Murray Schafer ...
This study aims to discuss the pedagogical ideas of Murray Schafer. “Pedagogical ideas” are here understood as the educational philosophy that guides and composes the practice of teaching. Through the bibliographic review of Schafer‟s work, alongside specialized periodicals and related literature, three central axes that comprise his pedagogical ideas are proposed: ecology, spiritual experience and the aesthetical experience. Each of these axes was considered as a result of a historical development that generates philosophical conceptions from a process of contradictions between ideas. Thus, we discuss the ecology and spiritual experience through the dichotomy between mechanistic thinking and ecological thinking, i.e. the connection/separation relationship between man and the whole. The aesthetic experience was considered by the educational perspective, and analyzed by the dichotomy between the pedagogical currents that are based on an ideal of man to build educational proposals (pedagogies of essence) and currents which take man as he really is (pedagogies of existence). This analysis was correlated with the work of Murray Schafer, inserting the author in the context of these dichotomies. With this, we can observe the construction of his worldview, as well as the structure, objectives and considerations which underlie his pedagogical practice. His pedagogical ideas show a pattern of interaction between the axes discussed: the sacralization of the aesthetic experience of soundscape as a mediator of the ecological relation between the individual and the whole, i.e. a spiritual relationship between art and the individual as a means of connection from the singular to the total, understood here from an ecological perspective. This study intends to assist the pedagogical activity of teachers that employ the educational conceptions of Murray Schafer in the teaching of music, hoping that by providing ...
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Murph, Megan Elizabeth. "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/118.

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In this dissertation, I analyzed Max Neuhaus’s (1939-2009) and R. Murray Schafer’s (b. 1932) commentary and work regarding noise, its control, and its relationship with the environment from the 1960 to the 1980s. Both Neuhaus and Schafer as well as those more directly involved with noise abatement research and policy were responding to the challenges and possibilities that noise posed in the latter twentieth century. In this project, I delved into these substantial links and argued that responding to and engaging with noise abatement policies was a key impetus to much of their work, which scholarship has yet to critically examine. Inspired by the listening strategies that Neuhaus and Schafer set forth, I also considered ways in which music educators and social activists might approach sound, becoming aural advocates or activists when working in their communities. The works selected for analysis reflected contemporaneous studies held in the USA and Canada investigating the psychological and physiological impact of noise on humans, animals, and their landscape. Just as these investigations grew into the 1970s, new attention developed towards acoustic ecology and public sound art, both fields dealing with the relationship between sounds, living beings, and the environment. Neuhaus’s works analyzed include the Listen series (1966-76), his New York Times op-ed piece titled “BANG, BOOooom, ThumP, EEEK, tinkle" (1974), and the Emergency Vehicle Siren Redesign project (1978-1989). These Neuhaus projects provided an alternative to the movement towards acoustic ecology put forward by his contemporary, Schafer. Analyses of Schafer and the World Soundscape Project’s (WSP) publications included Ear Cleaning (1967), The Book of Noise (1970), and A Survey of Community Noise Bylaws in Canada (1972). Featured were primary sources from the Max Neuhaus Papers (Columbia University Rare Book and Manuscript Library), newspaper reviews, and clippings. Also included were interviews with artists/associates of Neuhaus from his performance career (Phil Orenstein) and his Sirens project (Ray Gallon, Owen Greenspan, Herr Lugus, Julia Prospero, and Wolfgang Staehle) as well as Schafer's fellow WSP collaborator, Hildegard Westerkamp.
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SCOTT, L. BRETT. "WHEN WORDS SING: THE CHORAL MUSIC OF R. MURRAY SCHAFER." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021408652.

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Brimson, Cooper Jennifer. "The Weinzweig School: The flute works of Harry Freedman, Harry Somers, R. Murray Schafer, Srul Irving Glick and Robert Aitken." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342103922.

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Medeiros, Maria de Lourdes Lima de Souza. "Educação sonora e ensino musical : uma proposta de repertorio para crianças." [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284143.

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Orientadores: Maria Lucia Senna Pascoal, Celia Maria de Castro Almeida
Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Artes
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Resumo: Neste trabalho, foi realizado um estudo paralelo do método de educação musical de Edgar Willems e das propostas de educação sonora e musical apresentadas por Murray Schafer. Foi feita também uma análise sobre as diferenças e semelhanças entre as idéias dos dois educadores, apontando suas convergências e divergências e ainda os pontos em que as mesmas se completam.Como resultado, foi composto um repertório musical a ser utilizado em atividades práticas, destinadas a crianças na faixa etária de seis a oito anos, com o fIm de despertar nelas, através da criação, a vivência dos sons nas mais diversifIcadas formas expressivas e sensibilizadoras. O referido repertório, que também possibilita que a criança crie sua própria música, tendo uma participação critica neste processo, consta de peças para cantar e improvisar, para desenvolver as noções de altura, ritmo, dinâmica, timbre, audição interior e ainda explorações sonoras. O repertório musical, destinado a cantar, não se limita à música tonal, mas além desta são apresentadas peças modais, pentatônicas, atonais e de tons inteiros. A intenção deste trabalho não foi esgotar o conteúdo existente nas proposições dos dois músicos e pedagogos estudados. Pelo contrário, tem-se a consciência que muito pode ainda ser feito. A criatividade é infInita e, além disso, o campo de possibilidades que estes dois músicos nos oferecem é muito vasto. Cabe a cada pessoa que se interesse por um trabalho musical com a criança, adaptar e ampliar o que aqui foi proposto, não só no que diz respeito ao repertório apresentado como também na parte que se refere ao conteúdo teórico do pensamento fIlosófIco de educação proposto por Edgar Willems e Murray Schafer
Abstract: In this work, a parallel study about the method of musical education by Edgar Willems and the proposals on musical and sound education presented by Murray Schafer was accomplished. An analysis about the differences and similarities between the ideas of these two educators pointing out their convergences and divergences and also the points in which they complete each other was also done. As a result, a musical repertoire to be used in practical activities with children from six to eight years old was composed. This repertoire aims to call the child's attention, through the creation, to life experience with sounds in the most diversified expressive and sensible ways. It also offers the possibility to the child that has a critical participation in this process, the ability to create his own music. It consists of pieces to sing and improvise, to develop notions of pitch, rhythm, dynamics, timbre, and the inner hearing as well as sound exploitations. The musical repertoire, written for voice, is not limited to tonal music; it also presents modal, pentatonic, atonal and whole tone pieces. The purpose of this work is not to cover all the content of the proposals of those two musicians and pedagogues investigated. We are aware that there is still more to be done. Creativity is endless, and besides, the possibilities offered by these two musicians is vast. It is up to those truly interested in doing musical work with children to adapt and develop what was suggested here, either with the repertoire presented or the references to the theoretical content of the educational philosophic ideas proposed by Edgar Willems and Murray Schafer
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Gerard, Garrison. "EverWind: Original Composition and Analytical Essay on the Role of Inspiration and Nature in Music." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538726/.

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This paper provides an overview of the inspiration, research, and creative process involved in the composition of EverWind for orchestra and electronics. EverWind is based on field recordings from the American Southwest. The composition uses pitch material derived from spectral analysis of the recordings, and it incorporates a fixed media element using the field recordings that are then electronically manipulated to various degrees; this fixed media element is played alongside the orchestra. The paper also analyzes John Luther Adams' Dark Waves for Orchestra and Electronics and R. Murray Schafer's Music for Wilderness Lake in order to place EverWind within the broader musical context.
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Haag, Stefan. "Allegories of the postmodern: the work of Wilfred Watson and R. Murray Schafer." Thesis, 1995. http://hdl.handle.net/2429/7368.

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The characteristic doubling of postmodern works of art is best seen in terms of an allegorical gesture that melancholics undertake in order to create life in an entity they consider dead and meaningless. Walter Benjamin has theorized the allegorical gesture and provides a basis for extending his understanding of modern allegory to the postmodern. The postmodern can be seen as a continuum that at its two extremes veers towards a deconstructive and a reconstructive impulse, respectively. While the former decentres meaning and authority, the latter reconstructs the two on the basis of an arbitrary allegorical construct that relies itself on audience belief which is generated in participatory rituals. Watson and Schafer exemplify the interdependencies of these two postmodern impulses and their emblematical qualities. Furthermore, they illustrate how melancholics view the world, how they imbue their works with a political agenda, and how they try to indoctrinate their audiences. Ultimately, the allegorical construct is as ideological as what it brutally replaces. An outward sign of the violence that is at the root of the allegorical gesture can be seen in the many acts of violence in Watson and Schafer. Watson’s project ends in ambiguity because he ironically subverts his own authority so that the audience is left mocking the allegorical “message.” Schafer, on the other hand, represses the challenge that this violence poses to his allegorical construct. Although he does not realize it, his work remains caught in ideology. Reconstructive postmodernism, as far as it depends on the author(ity) of allegory, is thus built on a validating act of the audience, which is a leap of faith rooted in ideology.
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Eastwood, Jason. "Sonic Awareness, Alienation, and Liberation Through Soundscape Rhythmanalysis." 2013. http://hdl.handle.net/10222/35471.

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In the following thesis I investigate aspects of soundscape research and study practices through the gaze of certain methodologies presented in Henri Lefebvre’s Rhythmanalysis. I argue that elements of the practice Lefebvre has coined “rhythmanalysis” may function as useful tools in the study of sound environments. My research attempts to demonstrate that aspects of rhythmanalysis parallel and complement the important soundscape research that R. Murray Schafer and Hildegard Westerkamp have conducted over the past four decades. The thesis brings Lefebvre’s theories of capitalist modes of production into dialogue with Schafer and Westerkamp’s soundscape explorations. I consider how the rhythmanalytical method corresponds to and diverges from soundscape analysis. The thesis draws on both Schafer and Lefebvre to analyze a soundscape environment that I have personally experienced and inhabited. Lastly, I demonstrate the value in considering rhythmanalysis and Westerkamp’s interpretation of soundwalks as a connected discipline.
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Galloway, Kathleen Anne. ""Sounding Nature, Sounding Place": Alternative Performance Spaces, Participatory Experience, and Ritual Performance in R. Murray Schafer’s Patria Cycle." Thesis, 2010. http://hdl.handle.net/1807/26175.

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R. Murray Schafer (b. 1933, Sarnia, Ontario, Canada) is a seminal voice in Canadian music, due not only to the often controversial, but widespread international reception of his extensive spectrum of works, but also, due to his distinct approach to composition. Schafer’s Patria cycle (1966- ) employs unorthodox performance locales and contexts, a confluence of art forms and sensory experiences, and demands active audience participation, defining Patria as one of the most ambitious stage works. In this dissertation I explore two essential frameworks that are seminal in the discussion of Patria; firstly Schafer’s compositional processes, broadly defined, that come into play in Patria, and secondly, the performative and theatrical aspects in Patria. Through four ethnographic case studies, I suggest that the use of alternative performance spaces, participatory performance, and ritual performance foster an artistic and social environment that has the potential, if participants choose to fully engage in the experience, to alter participants’ perception of the importance of the environment, community, spirituality, and artistic and sensorial experience in contemporary society. In Chapter 1 I provide a discussion of Schafer’s concepts of soundscape and the theatre of confluence and how they are applied in Patria, and outline my research methodology, including my fieldwork experiences from working onsite during Patria productions from 2003 through 2007. In Chapter 2 I examine and contextualize four aspects of performance that reoccur throughout Patria and are specifically detailed in my four case studies: alternative performance space, participatory experience, and ritual performance. My four case studies, Chapter 3 The Princes of the Stars, Chapter 4 Asterion, Chapter 5 The Enchanted Forest, and Chapter 6 And Wolf Shall Inherit the Moon, argue that my participatory approach to Patria comprehensively illustrates how site, work, environment, and community interact, forming a distinctive performance experience.
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Books on the topic "R. Murray Schafer"

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R Murray Schafer: A Life in Muscb. Rowman & Littlefield Publishers, Incorporated, 2015.

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Book chapters on the topic "R. Murray Schafer"

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"R. Murray Schafer THE SOUNDSCAPE." In The Sound Studies Reader, 105–13. Routledge, 2012. http://dx.doi.org/10.4324/9780203723647-16.

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Ohi, Kevin. "Exordium." In Inceptions, 1–20. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294626.003.0001.

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Departing from Giorgio Agamben’s “The End of the Poem,” the introduction distinguishes “inception” from a series of related but not synonymous terms: origin, birth, and beginning. Recalling what R. Murray Schafer calls “onset distortion” in music, inception marks the text’s (and the life’s) vexed relation to its outside; inception, for this book, marks an asynchronicity within beginnings, textual and existential, where foundation diverges from mere starting out. The literary work, because it can neither comprise its inception nor externalize it in an authorizing exteriority, must in some sense posit itself. This fundamental, non-trivial self-reflexivity the book links to potentiality and to a striving for literary language to communicate itself, beyond any particular content of communication. In brief discussions of texts by Agamben, Arendt, Augustine, Benveniste, Frank Kermode, Roland Barthes, J Hillis Miller, Nabokov, and others, the introduction attempts to spell out its understanding of the relation of potentiality to inception and to trace some of its consequences for understandings of the relation between art and life. In so doing, it also distinguishes the book’s project from other possible approaches (empirical, practical, narratological) to the question of beginning.
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"Pefanis, Julian 88 Smith, Graham 10 Pétillon, Pierre-Yves 32, 34, 36 Starobinski, Jean 80 Picard, Raymond 23 Steiner, George 78 Piemme, Jean-Marie 45 Stock, Brian 34 Poe, Edgar Alan 9, 27 Stourdzé, Yves 45–6 Pompidou, Georges 47 Pontaut, Alain 5 Poole, Roger 40–1 Takemura, Kenichi 1, 16 Pound, Ezra 56 Tassart, Maurice 105 Texier, Jean 38 Theall, Donald 12, 68, 81, 107–8 Reagan, Ronald 79, 116 Thenot, Jean-Paul 74 Resnais, Alain 87 Thibau, Jacques 46 Rickels, Lawrence 53 Todorov, Tzvetan 50 Riesman, Paul 18–19, 22 Torgovnic, M. 106, 108 Rigby, Brian 6, 17, 33, 60 Trudeau, Pierre 5, 46–7, 91, Robbe-Grillet, Alain 87 103–4 Robert, Gilles 118 Rokeby, David 10 Rosenthal, Raymond 2 Vermillac, Michel 25, 27 Vernay, Alain 50 Virilio, Paul 4, 16, 89, 95–7 Said, Edward 22 Sarick, Lila 14 Sarrazin, Jean 105 Watson, Wilfred 119–20 Sartre, Jean-Paul 26 Weinstein, M. A. 12 de Saussure, Ferdinand 80, 90 Weiss, Peter 83 Schaeffer, Pierre 56–8, 60 Williams, Raymond 34 Schafer, R. Murray 83 Wolf, Gary 13 Schwartz, Eugene 15 Wolfe, Tom 104 Sevette, Christian 11 Wolton, Dominique 47 Smart, Barry 94 Zingrone, Frank 9 ŽiŽek, Slavoj 59, 62." In McLuhan and Baudrillard, 146. Routledge, 2002. http://dx.doi.org/10.4324/9780203005217-16.

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