Verbal-visual configurations in postcolonial literature : intermedial aesthetics /: intermedial aesthetics. (2020)

• Record Type: Book
• Further Information: Note: Birgit Neumann, Gabriele Rippl.
• Authors: Neumann, Birgit; Rippl, Gabriele
• Contents: 1 Introduction: The Art and Power of Seeing in Postcolonial Contexts 2 Intermedial Aesthetics in Postcolonial Contexts: Transcultural Contests, Contact Zones and Translations 2. 1 State of the Art: Theoretical Approaches to Word-Image Configurations in Narrative Literature 2. 2 Intermediality Research 2. 3 Ekphrasis 2. 4 Visuality, Ekphrasis and Postcolonial Theory 2. 5 Battles against and Encounters with Otherness 2. 6 Verbal-Visual Configurations: Practices of Translation 2. 7 The Politics of Visuality and the Gaze 3 Visuality and the Ethics of Seeing: Michael Ondaatje’s The English Patient 3. 1 Visuality and Ethics – Some Philosophical Perspectives 3. 2 Re-visioning History in Michael Ondaatje’s The English Patient (1992) 3. 3 Mapping Processes and the Colonial Gaze 3. 4 Ekphrases – Transcultural Solidarities 3. 5 Partial Points of View and the ‘Multiplication of the Eyes’ 3. 6 Visibilities, Invisibilities and "Reserves of Alterities" 4 Renegotiating Frames and Visibility in David Dabydeen’s A Harlot’s Progress 4. 1 Hogarth’s and Dabydeen’s Blacks 4. 2 "Can the Subaltern Speak?" And Can the Subaltern See? – Configurations of Voice and Vision in Dabydeen’s Fiction 4. 3 A Harlot’s Progress (1985): Navigating the Imagery of 18th-century Britain 4. 4 Challenging Visual Transparency in A Harlot’s Progress 4. 5 Looking beyond the Frame 4. 6 Arts, Commerce and Appropriation 4. 7 The Predicament of Representing Black Subjectivities 5 Salman Rushdie’s Entangled Histories, Travelling Images and Alternative Visions of the Secular Modern Nation-State in Midnight’s Children, The Moor’s Last Sigh and The Enchantress of Florence 5. 1 Salman Rushdie’s Intermedial Aesthetic and Indian Visual 5. 2 Negotiating Postcolonial Identities: Ekphrasis as Counter-Reading in Midnight’s Children (1981) 5. 3 Rushdie’s Ekphrastic Hope: The Moor’s Last Sigh (1995) 5. 4 The Power of Painting and Ekphrasis: The Enchantress of Florence (2008) 5. 5 Ekphrasis and Ethics 6 Derek Walcott’s "Twin Heads": Postcolonial Ekphrasis and Counter-Visions in Tiepolo’s Hound 6. 1 Derek Walcott: Navigating the Interstices between Visual and Verbal Art 6. 2 ‘The Art of Seeing’ 6. 3 Contesting Origins and Originals: ‘Lime trees trying to be olives’ 6. 4 Re-Visioning Impressionism, Provincialising Europe 6. 5 Possibilities and Limits of a Caribbean Aesthetics 6. 6 Walcott’s Painterly Re-Visions 6. 7 Toward a New World Aesthetics and Ethics of Seeing 6. 8 Double Visions, Caribbean Re-Vision and ‘Seeing Shadows’ 7 Serial Intermediality: Jamaica Kincaid’s Lucy and See Now Then 7. 1 Postcolonial Subject Positions: Repetition with a Difference 7. 2 Photography and Seriality in Lucy (1990) 7. 3 Repetition and Ekphrasis in See Now Then (2013) 8 Monstrous Alterity: The Intermedial Aesthetics of Anne Carson’s Autobiography of Red 8. 1 Word-Image Configurations in Anne Carson’s Oeuvre 8. 2 Autobiography of Red: A Novel in Verse (1998) 8. 3 Geryon’s Autobiographical Project: Sculpture – Writing – Photography 8. 4 Radicalising Ekphrasis 9 ‘African’ and ‘American’ Ekphrases: NoViolet Bulawayo’s We Need New Names 9. 1 The Intensity of Impression in Bulawayo’s We Need New Names (2013) 9. 2 Darling’s Art of Description 9. 3 Africa in the Western Mass Media 9. 4 ‘African’ Ekphrases 9. 5 ‘American’ Ekphrases 9. 6 Visual Contact Zones 10 Global Media Cultures, Travelling Images and Transcultural Ekphrasis in Chimamanda Ngozi Adichie’s Half of A Yellow Sun 10. 1 Rebalancing Stories in a Globalised World 10. 2 Half of a Yellow Sun (2006) – Re-Membering the Nigerian Civil War 10. 3 Transcultural Ekphrases: Igbo-Ukwu Art and Photography 10. 4 War Photography and the Voyeuristic Gaze in Western Media 10. 5 Intermedial Encounters – The Roped Pot as a Narrative Principle 11 Reflections and Refractions of Contemporary Media Cultures in Teju Cole’s Every Day Is for the Thief and Open City 11. 1 Convergence Culture and Social Linking 11. 2 Verbal-Visual Configurations in Teju Cole’s Every Day Is for the Thief (2007/2014a) – Plays of In-Between-Ness 11. 3 Re-visioning Travel Writing: Peripatetic Viewing and Lagos’ "non-linear nature" 11. 4 ‘The Empty Frame’ – Moments of Absence 11. 5 The Ethics and Affects of Visual Practices 11. 6 Restructuring Nigerian Visual Cultures: Photography in Every Day Is for the Thief 11. 7 Ekphrasis in the Digital Age: Open City (2011) 11. 8 New York: Painting and Architecture 11. 9 Brussels: Monuments and Global Communication 11. 10 Back in New York City: Photography 11. 11 Blind Spots 12 Conclusion
• Edition: 1st
• Publisher Details: London : Routledge
• Publication Date: 2020
• Extent: 1 online resource, illustrations (black and white)
• Subjects: 820.93582; English literature -- 20th century -- History and criticism; English literature -- 21st century -- History and criticism; Postcolonialism in literature
• Languages: English
• ISBNs: 9781000060584; 9781000060508; 9781003038818
• Related ISBNs: 9780367360146
• Notes: Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.