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E-grāmata: Verbal-Visual Configurations in Postcolonial Literature: Intermedial Aesthetics [Taylor & Francis e-book]

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Examining a range of contemporary Anglophone texts, this book opens up postcolonial and transcultural studies for discussions of visuality and vision. It argues that the preoccupation with visual practices in Anglophone literatures addresses the power of images, vision and visual aesthetics to regulate cultural visibility and modes of identification in an unevenly structured world. The representation of visual practices in the imaginative realm of fiction opens up a zone in which established orders of the sayable and visible may be revised and transformed. In 12 chapters, the book examines narrative fiction by writers such as Michael Ondaatje, Derek Walcott, Salman Rushdie, David Dabydeen and NoViolet Bulawayo, who employ word-image relations to explore the historically fraught links between visual practices and the experience of modernity in a transcultural context. Against this conceptual background, the examination of verbal-visual relations will illustrate how Anglophone fiction models alternative modes of re-presentation that reflect critically on hegemonic visual regimes and reach out for new, more pluralized forms of exchange.

List of Figures
xi
Acknowledgements xiii
1 Introduction: The Art and Power of Seeing in Postcolonial Contexts
1(12)
2 Intermedial Aesthetics in Postcolonial and Transcultural Contexts: Contests, Contact Zones and Translations
13(21)
2.1 State of the Art: Theoretical Approaches to Word-Image Configurations in Narrative Literature
13(1)
2.2 Intermediary Research
14(2)
2.3 Ekphrasis
16(3)
2.4 Visuality, Ekphrasis and Postcolonial Theory
19(2)
2.5 Battles against and Encounters with Otherness
21(4)
2.6 Verbal-Visual Configurations: Practices of Translation
25(4)
2.7 The Politics of Visuality and the Gaze
29(5)
3 Visuality and the Ethics of Seeing: Michael Ondaatje's The English Patient
34(26)
3.1 Visuality and Ethics -- Some Philosophical Perspectives
34(3)
3.2 Re-Visioning History in Michael Ondaatje's The English Patient (1992)
37(3)
3.3 Mapping Processes and the Colonial Gaze
40(4)
3.4 Ekphrases -- Transcultural Solidarities
44(5)
3.5 Partial Points of View and the `Multiplication of the Eyes'
49(9)
3.6 Visibilities, Invisibilities and "Reserves of Alterities"
58(2)
4 Renegotiating Frames and Visibility in David Dabydeen's A Harlot's Progress
60(25)
4.1 Hogarth's and Dabydeen's Blacks
60(1)
4.2 "Can the Subaltern Speak?" And Can the Subaltern See? -- Configurations of Voice and Vision in Dabydeen's Fiction
61(3)
4.3 A Harlot's Progress (1985): Navigating the Imagery of 18th-century Britain
64(3)
4.4 Challenging Visual Transparency in A Harlot's Progress
67(4)
4.5 Looking beyond the Frame
71(7)
4.6 Arts, Commerce and Appropriation
78(3)
4.7 The Predicament of Representing Black Subjectivities
81(4)
5 Salman Rushdie's Entangled Histories and Alternative Visions of the Secular Modern Nation-State in Midnight's Children, The Moor's Last Sigh and The Enchantress of Florence
85(23)
5.1 Salman Rushdie's Intermedial Aesthetic and Indian Visual Cultures
85(4)
5.2 Negotiating Postcolonial Identities: Ekphrasis as Counter-Reading in Midnight's Children (1981)
89(10)
5.3 Rushdie's Ekphrastic Hope: The Moor's Last Sigh (1995)
99(3)
5.4 The Power of Painting and Ekphrasis: The Enchantress of Florence (2008)
102(3)
5.5 Ekphrasis and Ethics
105(3)
6 Derek Walcott's "Twin Heads": Postcolonial Ekphrasis and Double Visions in Tiepolo's Hound
108(24)
6.1 Derek Walcott: Navigating the Interstices between Visual and Verbal Art
108(3)
6.2 `The Art of Seeing'
111(2)
6.3 Contesting Origins and Originals: `Lime trees trying to be olives'
113(4)
6.4 Re-Visioning Impressionism, Provincialising Europe
117(3)
6.5 Possibilities and Limits of a Caribbean Aesthetics
120(3)
6.6 Walcott's Painterly Re-Visions
123(3)
6.7 Toward a New World Aesthetics and Ethics of Seeing
126(3)
6.8 Double Visions, Caribbean Re-Vision and `Seeing Shadows'
129(3)
7 Serial Intermediality: Jamaica Kincaid's Lucy and See Now Then
132(17)
7.1 Postcolonial Subject Positions: Repetition with a Difference
132(4)
7.2 Photography and Seriality in Lucy (1990)
136(6)
7.3 Repetition and Ekphrasis in See Now Then (2013)
142(7)
8 Monstrous Alterity: The Intermedial Aesthetics of Anne Carson's Autobiography of Red
149(20)
8.1 Word-Image Configurations in Anne Carson's Oeuvre
149(1)
8.2 Autobiography of Red: A Novel in Verse (1998)
150(4)
8.3 Geryon's Autobiographical Project: Sculpture - Writing - Photography
154(11)
8.4 Radicalising Ekphrasis
165(4)
9 African' and `American' Ekphrases: NoViolet Bulawayo's We Need New Names
169(16)
9.1 The Intensity of Impression in Bulawayo's We Need New Names (2013)
169(1)
9.2 Darling's Art of Description
170(2)
9.3 Africa in the Western Mass Media
172(2)
9.4 African' Ekphrases
174(4)
9.5 `American' Ekphrases
178(5)
9.6 Visual Contact Zones
183(2)
10 Travelling Images and Transcultural Ekphrasis in Chimamanda Ngozi Adichie's Half of a Yellow Sun
185(17)
10.1 Rebalancing Stories in a Globalised World
185(1)
10.2 Half of a Yellow Sun (2006) -- Re-membering the Nigerian Civil War
186(3)
10.3 Transcultural Ekphrases: Igbo-Ukwu Art and Photography
189(4)
10.4 War Photography and the Voyeuristic Gaze in Western Media
193(7)
10.5 Intermedial Encounters -- The Roped Pot as a Narrative Principle
200(2)
11 Words and Images in Media Cultures: Teju Cole's Every Day Is for the Thief and Open City
202(39)
11.1 Convergence Culture and Social Linking
202(1)
11.2 Verbal-Visual Configurations in Teju Cole's Every Day Is for the Thief (2007/2014) -- Plays of In-Between-Ness
203(2)
11.3 Re-Visioning Travel Writing: Peripatetic Viewing and Lagos' "Non-Linear Nature"
205(2)
11.4 `The Empty Frame' -- Moments of Absence
207(3)
11.5 The Ethics and Affects of Visual Practices
210(2)
11.6 Restructuring Nigerian Visual Cultures: Photography in Every Day Is for the Thief
212(4)
11.7 Ekphrasis in the Digital Age: Open City (2011)
216(2)
11.8 New York: Painting and Architecture
218(7)
11.9 Brussels: Monuments and Global Communication
225(3)
11.10 Back in New York City: Photography
228(6)
11.11 Blind Spots
234(7)
12 Conclusion
241(6)
Bibliography 247(26)
Index 273
Birgit Neumann (MA, University of Cologne; PhD, University of Giessen) is Chair of Anglophone Literatures and Translation Studies at Heinrich Heine University Düsseldorf. She previously held positions at the universities of Giessen, Münster and Passau and was Visiting Professor at the universities of Cornell (USA), Madison-Wisconsin (USA) and Anglia Ruskin, Cambridge (UK). She is a member of a number of international research networks and an elected member of the Academy of Europe, of the Coordinating Committee for the Comparative History of Literatures in European Languages (CHLEL) and of the Advisory Board of the "Centre for Comparative Studies", University of Lisbon. She is co-editor of book series on cultural memory (Vandenhoeck & Ruprecht), on cultural translation (Narr) and on English and American literatures (Brill). Her research engages with the poetics and politics of Anglophone world literatures, cultural translation, intermediality and postcolonial ecocriticism. She is the author of books on Canadian fictions of memory (2005) and on nationalism in 18th-century British literature (2009). She has edited and co-edited a range of volumes and special issues, including collections on Exotic Things in the 18th-century (2015), A History of British Poetry (2015), British TV Comedies Cultural Concepts, Contexts and Controversies (2105), Cultures of Emotion in 18th-century Britain (2015), Anglophone World Literatures (2017), Postcolonial Ecocriticism and Anglophone Literatures (2017), Global Literary Histories (2018) as well as on the 21st-century Anglophone Novel (2019).

Gabriele Rippl (MA University of Constance; PhD University of Constance) is Full Professor and Chair of Literatures in English at the University of Berne and Director of the Department of English. Trained in English, American and German Literature, Linguistics and Cultural Studies at the Universities of Constance and Bristol, she previously held positions at the University of Constance and Göttingen and was Visiting Professor/Scholar at the Universities of Bern, Zürich, Fribourg, Cambridge, Brighton, UCLA and London (Ontario). She is a member of a number of international research networks, of the Swiss National Research Council, of several other SNSF committees as well as of AcademiaNet (European Expert Database of Outstanding Female Academics). She serves as co-editor of Anglia. Journal of English Philology, the Anglia Book Series and the De Gruyter series Handbooks of English and American Studies. Text and Theory. In addition, she is on the advisory boards of Interfaces, Amerikastudien/American Studies and the Journal for the Study of British Cultures. Her research is currently dedicated to the study of intermediality and ekphrasis in Anglophone transcultural literature, canon formation, cultural sustainability, as well as 20th- and 21st-century Anglophone life writing. Among her major publications are: Anglophone World Literatures (2017, co-edited); Handbook of Intermediality (2015, edited); Handbuch Kanon und Wertung (2013, co-edited); Haunted Narratives: Life Writing in an Age of Trauma (2013, co-edited); Imagescapes: Studies in Intermediality (2010, co-edited); Beschreibungs-Kunst (2005, authored) and Lebenstexte (1998, authored).

Both authors are involved in various international academic associations (ICLA, ACLA, MLA, IAWIS, EASLCES, IAUPE, DGfA, Deutscher Anglistenverband, SANAS, SAUTE, Gesellschaft für Kanadastudien, CHLEL, German Society of 18th-Century Studies) and have acted as reviewers for a number of international research foundations.