• Cavell, Richard. McLuhan in Space: A Cultural Geography . Toronto: U of Toronto P, 2002.


“[S]pace occupies the single most consistent conceptual category in the work of Marshall McLuhan. Put another way, space is the notion that connects a multiplicity of elements in McLuhan’s large and diverse oeuvre . McLuhan made constant reference to space throughout his career, and the various dimensions of his thought are articulated through notions of spatial biases, sensations, and modes of production. It was space, furthermore, which anchored the system of ideas that connected McLuhan to artists and theorists with whose work his own is most productively situated.” (xiii)


  • Danielson, Wayne. “Digital McLuhan [review].” Journalism and Mass Communication Quarterly 79.1 (2002): 224-5.

“Levinson’s determination to find prophecy in all of McLuhan’s ideas seems to push theory farther toward theology (Is there a common root in the two words?). To the extent that theory becomes theology it can no longer be disproved, and we are asked to return to a time when theories proved themselves by being merely interesting or provocative.” (224)


  • Gill, Anton. Art Lover: A Biography of Peggy Guggenheim . N.Y.:
    HarperCollins, 2002.

“[T]he last issue of [Guggenheim’s art magazine] View appeared in March 1947, with articles by Marius Bewley, Marshall McLuhan, and Louise Bourgeois’s husband, Robert Goldwater” (346).


  • Houe, Poul. “Communication between Two Ages: Kierkegaard, McLuhan, and Problems of Hermeneutics. Edda: Nordisk Tidsskrift for Litteraturforskning / Scandinavian Journal of Literary Research (Edda) 1 (2002): 22-29.


  • Johnson, Brian. “A Prophet Gets Some Honor.” Maclean’s 115.48 (2002): 66-7.

“The media had their fun with McLuhan, treating him as a perplexing novelty act. But by his death in 1980, he had been discredited in the academic world, which looked askance at his vulgar celebrity. By the ’90s, most of his books were out of print. And now there are university graduates who draw a blank when you mention McLuhan’s name. Others may recall only a couple of catchphrases — ‘the global village’ or ‘the medium is the message.’ McLuhan laid the bedrock of what’s now called media studies, and envisaged the Internet decades before it existed. But his ideas have been so well subsumed by pop culture that we tend to forget where they came from. There’s no mention of McLuhan in Naomi Klein’s No Logo, the best-selling bible of the anti-globalization movement. Yet her notion of the ‘brandscape’ seems inconceivable without his vision of the media as a supersaturated environment.” (66)


  • Lang, Peter. “McLuhan, Perfect People, and the Media Plays of Jean-Claude van Itallie. New Readings in American Drama: Something’s Happening Here. Ed. Norma Jenckes. New York: Peter Lang, 2002.


  • Merrin, William. “Implosion, Simulation, and the Pseudo-Event: A Critique of McLuhan.” Economy and Society 31.3 (2002): 369-90.

“If Baudrillard is indebted, in part, to Boorstin for his critique of McLuhan, how then does this influence and critique develop in his later work? In a 1984 interview Baudrillard says that McLuhan’s is ‘still the best analysis’ of the media (1993a: 87), but this claim is made on the basis of his own ‘more interesting’ reading in which, from an initial defense of McLuhan, ‘one inverts the hypothesis'(1993a: 88), to reverse the effects he describes (1993a: 90). Although there are fewer references to McLuhan in Baudrillard’s later work, he remains acentral influence, especially as Baudrillard comes to foreground the electronic media and technology, but, as always, his critical conclusions are reversed by Baudrillard.” (383)


  • Spigel, Lynn. “Installing the Television Set [1992].” The Everyday Life Reader. Ed. Ben Highmore. London and New York: Routledge, 2002. 325-28.

“Indeed, the ideological harmony between technological utopias and housing utopias created an ideal nesting ground for television’s introduction to the public in the postwar years. Women’s home magazines often displayed television sets in decorative settings which created the illusion of spatial conquests. The set was typically placed in rooms with panoramic window views, or else installed next to globes and colorful maps. The image of television as a ‘global village,’ which media critic Marshall McLuhan spoke of in the 1960s, was already suggested in the popular discourses of the postwar period.” (328)


  • Stevenson, Nick. Understanding Media Cultures: Social Theory and Mass Communication . London: Sage, 2002.