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.
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 .
To save content items to your Kindle, first ensure no-reply@cambridge.org
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.
In Mark Twain’s A Connecticut Yankee in King Arthur’s Court (1889), the encounter between a skilled Yankee mechanic and the novel’s fanciful Middle Ages becomes a confrontation not simply between America and Britain, or between progress and stasis, but between oral and literate cultures. The novel’s perspective and even its origins bear out its connections to a late-nineteenth-century American anthropology that anticipated twentieth-century theories of orality and literacy. Twain’s own aspirations and experiences as a would-be new-media magnate, especially his sponsorship of James Paige’s mechanical compositor, inform his treatment of media history as a realm of antagonism and supersession. In the novel’s chilling final scene, techno-cultural rivalries expand into warfare and mass annihilation, a vision in which electricity and the Gatling gun figure as the doubles of the era’s new media technologies.