For Weston, Bullock, Adams, et al the "full range" of which Adams spoke when he said that "...a good print should contain the full tonal range..." (from white to black) was (and to a lesser degree still is) more limited by the ability of available printing papers at the time to reflect light at various tonal values when compared to the fuller tonal range available using CRT or LCD light emitting displays. A print can only be as good as the light it is reflecting. A monitor produces its own light.
Beyond that, I'm not sure Adams included only the darkest blacks and brightest whites in what he meant by "...full tonal range..." I'm fairly certain he meant one should use the entire range available, including all of those values in between the darkest black and the brightest white.
Printing papers have gotten better. The "competition" from light emitting displays has probably spurred a lot of the improvements. But beyond that I think current photographers are exploiting the full tonal range in a different way than in the previous century. The expectation now seems to be that such prints will be displayed under more meticulously controlled lighting that allows the full range of the paper's tonal range to be perceived by the viewer.
In the past I think there was more allowance for differing viewing conditions when producing prints for public consumption. This would especially be the case for reproductions, such as those seen in art books. Even if the original print on very high quality paper had wider tonal range, the narrower tonal range of the paper used to print most books, even those using "art" grade paper, means the reproduction lacked the fuller range of the original. Looking at Adams' work in books in no way compares to seeing it with your own eyes. The differences are profound.
The idea really isn't all that strange to our modern thinking. Photos mass distributed where they are most likely to be viewed on the screens of smartphones, tablets, and lower end monitors usually are edited with such usage in mind. Compare such photos to photos displayed via screens in which the producer of the art either has total control of the display device or at the very least can be assured the devices used to display the work will meet strident standards of uniformity and overall total gamut.