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xi | |
Acknowledgements |
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xiii | |
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1 Introduction: The Art and Power of Seeing in Postcolonial Contexts |
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1 | (12) |
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2 Intermedial Aesthetics in Postcolonial and Transcultural Contexts: Contests, Contact Zones and Translations |
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13 | (21) |
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2.1 State of the Art: Theoretical Approaches to Word-Image Configurations in Narrative Literature |
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13 | (1) |
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2.2 Intermediary Research |
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14 | (2) |
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16 | (3) |
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2.4 Visuality, Ekphrasis and Postcolonial Theory |
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19 | (2) |
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2.5 Battles against and Encounters with Otherness |
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21 | (4) |
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2.6 Verbal-Visual Configurations: Practices of Translation |
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25 | (4) |
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2.7 The Politics of Visuality and the Gaze |
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29 | (5) |
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3 Visuality and the Ethics of Seeing: Michael Ondaatje's The English Patient |
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34 | (26) |
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3.1 Visuality and Ethics -- Some Philosophical Perspectives |
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34 | (3) |
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3.2 Re-Visioning History in Michael Ondaatje's The English Patient (1992) |
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37 | (3) |
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3.3 Mapping Processes and the Colonial Gaze |
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40 | (4) |
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3.4 Ekphrases -- Transcultural Solidarities |
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44 | (5) |
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3.5 Partial Points of View and the `Multiplication of the Eyes' |
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49 | (9) |
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3.6 Visibilities, Invisibilities and "Reserves of Alterities" |
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58 | (2) |
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4 Renegotiating Frames and Visibility in David Dabydeen's A Harlot's Progress |
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60 | (25) |
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4.1 Hogarth's and Dabydeen's Blacks |
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60 | (1) |
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4.2 "Can the Subaltern Speak?" And Can the Subaltern See? -- Configurations of Voice and Vision in Dabydeen's Fiction |
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61 | (3) |
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4.3 A Harlot's Progress (1985): Navigating the Imagery of 18th-century Britain |
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64 | (3) |
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4.4 Challenging Visual Transparency in A Harlot's Progress |
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67 | (4) |
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4.5 Looking beyond the Frame |
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71 | (7) |
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4.6 Arts, Commerce and Appropriation |
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78 | (3) |
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4.7 The Predicament of Representing Black Subjectivities |
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81 | (4) |
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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 |
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85 | (23) |
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5.1 Salman Rushdie's Intermedial Aesthetic and Indian Visual Cultures |
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85 | (4) |
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5.2 Negotiating Postcolonial Identities: Ekphrasis as Counter-Reading in Midnight's Children (1981) |
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89 | (10) |
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5.3 Rushdie's Ekphrastic Hope: The Moor's Last Sigh (1995) |
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99 | (3) |
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5.4 The Power of Painting and Ekphrasis: The Enchantress of Florence (2008) |
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102 | (3) |
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105 | (3) |
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6 Derek Walcott's "Twin Heads": Postcolonial Ekphrasis and Double Visions in Tiepolo's Hound |
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108 | (24) |
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6.1 Derek Walcott: Navigating the Interstices between Visual and Verbal Art |
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108 | (3) |
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111 | (2) |
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6.3 Contesting Origins and Originals: `Lime trees trying to be olives' |
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113 | (4) |
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6.4 Re-Visioning Impressionism, Provincialising Europe |
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117 | (3) |
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6.5 Possibilities and Limits of a Caribbean Aesthetics |
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120 | (3) |
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6.6 Walcott's Painterly Re-Visions |
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123 | (3) |
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6.7 Toward a New World Aesthetics and Ethics of Seeing |
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126 | (3) |
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6.8 Double Visions, Caribbean Re-Vision and `Seeing Shadows' |
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129 | (3) |
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7 Serial Intermediality: Jamaica Kincaid's Lucy and See Now Then |
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132 | (17) |
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7.1 Postcolonial Subject Positions: Repetition with a Difference |
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132 | (4) |
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7.2 Photography and Seriality in Lucy (1990) |
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136 | (6) |
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7.3 Repetition and Ekphrasis in See Now Then (2013) |
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142 | (7) |
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8 Monstrous Alterity: The Intermedial Aesthetics of Anne Carson's Autobiography of Red |
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149 | (20) |
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8.1 Word-Image Configurations in Anne Carson's Oeuvre |
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149 | (1) |
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8.2 Autobiography of Red: A Novel in Verse (1998) |
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150 | (4) |
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8.3 Geryon's Autobiographical Project: Sculpture - Writing - Photography |
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154 | (11) |
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8.4 Radicalising Ekphrasis |
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165 | (4) |
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9 African' and `American' Ekphrases: NoViolet Bulawayo's We Need New Names |
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169 | (16) |
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9.1 The Intensity of Impression in Bulawayo's We Need New Names (2013) |
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169 | (1) |
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9.2 Darling's Art of Description |
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170 | (2) |
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9.3 Africa in the Western Mass Media |
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172 | (2) |
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174 | (4) |
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178 | (5) |
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183 | (2) |
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10 Travelling Images and Transcultural Ekphrasis in Chimamanda Ngozi Adichie's Half of a Yellow Sun |
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185 | (17) |
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10.1 Rebalancing Stories in a Globalised World |
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185 | (1) |
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10.2 Half of a Yellow Sun (2006) -- Re-membering the Nigerian Civil War |
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186 | (3) |
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10.3 Transcultural Ekphrases: Igbo-Ukwu Art and Photography |
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189 | (4) |
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10.4 War Photography and the Voyeuristic Gaze in Western Media |
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193 | (7) |
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10.5 Intermedial Encounters -- The Roped Pot as a Narrative Principle |
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200 | (2) |
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11 Words and Images in Media Cultures: Teju Cole's Every Day Is for the Thief and Open City |
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202 | (39) |
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11.1 Convergence Culture and Social Linking |
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202 | (1) |
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11.2 Verbal-Visual Configurations in Teju Cole's Every Day Is for the Thief (2007/2014) -- Plays of In-Between-Ness |
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203 | (2) |
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11.3 Re-Visioning Travel Writing: Peripatetic Viewing and Lagos' "Non-Linear Nature" |
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205 | (2) |
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11.4 `The Empty Frame' -- Moments of Absence |
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207 | (3) |
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11.5 The Ethics and Affects of Visual Practices |
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210 | (2) |
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11.6 Restructuring Nigerian Visual Cultures: Photography in Every Day Is for the Thief |
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212 | (4) |
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11.7 Ekphrasis in the Digital Age: Open City (2011) |
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216 | (2) |
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11.8 New York: Painting and Architecture |
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218 | (7) |
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11.9 Brussels: Monuments and Global Communication |
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225 | (3) |
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11.10 Back in New York City: Photography |
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228 | (6) |
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234 | (7) |
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241 | (6) |
Bibliography |
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247 | (26) |
Index |
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273 | |