Visuality in postcolonial literature: visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Hamburg
Verlag Dr. Kovač
2023
|
| Schriftenreihe: | Studien zur Anglistik und Amerikanistik
Band 36 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 409 Seiten |
| ISBN: | 9783339132741 |
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| adam_text | Contents 1. Introduction................................................................................. 11 1.1. “AH Media are Mixed Media” (Mitchell)....................................... 11 1.2. Aim and Method............................................................................. 13 1.3. Outline............................................................................................ 17 2. Theory and Methodology.......................................................... 21 2.1. Text and Image.............................................................................. 21 2.1.1. Cultural-Historical and Conceptual Developments of the Rela tionship between Text and Image................................... 21 2.1.2. Distinctive, Common and Dynamic Features between Different Types of Images and Socio-Formative Writing in Literature and Other Media................................ 26 2.1.2.1. Images........................................................................................... 26 2.1.2.2. The Act of Socio-Formative Writing............................................ 28 2.1.2. Յ. Photography, Memory, Paintingand Socio-Formative Writing.... 32 2.1.2.4. Verbal Images, the Absence of the Explicit Visual Medium, and Socio-Formative Writing............................................................... 38 Practices ofLooking: Visualisation and the Reader....................... 46 2.1.3.1. Visual Culture and Practices of Looking....................................... 46 2.1.3. 2.1.3.2. Approaching the Study of Images: A Semiotic Reading of Im
ages................................................................................. 48 2.1.3.3. The Visual Object and Its Power to Create and Circulate Mean ing................................................................................... 50 2.1.Յ.4. Addressing the Viewer................................................................. 2.1.3.5. The Viewer’s Perception and the Effects on the Reading Pro cess.................................................................................. 54 7 52
2.2. Postcolonial, Transcultural and Cosmopolitan Literatures and the Relevance of Visual Aesthetics....................... 59 2.2.1. A Shift in Postcolonial Literatures................................................... 59 2.2.2. Visuality in Postcolonial Literatures............................................... 59 2.2.3. The Relationship between Postcolonialism and Cosmopolitan ism.................................................................................. 60 2.2.4. Re-Routed Postcolonialism and Transcultural Literatures............ 2.3. Visual Categories for the Analysis of Socio-Formative Prac tices in Postcolonial and Transcultural Literatures.. 67 2.3.1. Re-Vision........................................................................................ 67 2.3.2. The Visual as Resistance................................................................. 75 2.3.3. Haptic Visuality............................................................................... 84 2.3.4. Relations between the Categories and Selection of the Corpus.... 95 3. Re-Vision: Postcolonial Re-Figurations and Transcultur al Perspectives of Self and Other. 62 99 3.1. Postcolonial Re-Figurations of Self and Other........................... 3.1.1. Being Inside-Out: Spotting Traces of Verbal and Visual Entan glements and Postcolonial Re-Figurations in Michael Ondaatje’s Fictional Autobiography Running in the Family (1982). 99 3.1.2. Re-Vision of the Daffodils in Sia Figiel’s “The Daffodils from a Native’s Perspective” (1998)........................................................ 120 “If
Englishness doesn’t define me, then redefine Englishness” (Levy): Re-Visions of Englishness and British History in Andrea Levy’s Small Island (2004) and The Long Song (2010)................ 129 3.1.3. 8 99
3.2. Transcultural and Cosmopolitan Perspectives of Self and Other.............................................................................. 152 3.2.1. Re-Visions and Movements of Invisible Links between the Past and the Present in Teju Cole’s Everyday isfor the Thief(2014) 152 Preserving and Transforming Traces of the Past through City Walks: Re-Visions of Postcolonialism and Cosmopolitanism for a Transcultural Dialectics in Teju Cole’s Open City (2011).......... 166 4. The Visual as Resistance........................................................... 177 4.1. (Post)Colonial Aftermaths. Countering War and Trauma...... 177 4.1.1. Coming to Terms with the Sri Lankan Civil War: Ekphrastic and Italic Visualisations against Trauma and the Formation of Iden tity in Michael Ondaatje’s Anil’s Ghost (2000).............. 177 4.1.2. Resistance by Witnessing Apartheid’s Trauma in Sindiwe Magona’s “Please, Take Photographs” (2009).................... 196 4.1.3. Ekphrastic Criticism of the Northern Irish Conflict in Seamus Heaney’s “Punishment” (1975)...................................... 210 4.2. Negotiating Total Visibility Transculturally.............................. 4.2.1. Visualising the Ordinary. Critiquing Photographic Truth and Re sistance towards Total Representability and Visibility in Carol Shields’ The Stone Diaries (1993).................................. 229 4.2.2. Re-Claiming the Female Body: Verbal-Visual Resistance in Se lected Poems of Rupi Kaur’s milk and honey (2015)..... 243 5. Strategies of Haptic Visuality: New Perspectives on Vis- 3.2.2.
uality.............................................................................. 5.1. 267 Reversing the Ideology of the Western Eye: Haptic Percep tions against a Postcolonial Background.................... 267 9 229
5.1.1. Exploration of the Invisible: Using Strategies of Haptic Visuality to Discover and Experience Space and the Self in Michael On daatje’s The English Patient (1992)............................................... 267 5.1.2. Perceiving Sri Lankan Culture in a Multisensory Fashion through Michael Ondaatje’s “Sweet like a Crow” (1982) com plemented by “Women Like You” (1982) and “The Cinnamon Peeler” (1982)................................................................. 287 5.1.3. Depicting West African Spiritual Beliefs through Haptic Visual ity in Ben Okri’s The Famished Road (1991)................ 301 5.1.4. A Matter of Identity: Negotiations of Land, Myth and Muteness through Haptic Aesthetics in Keri Hulme’s The Bone People (1984).............................................................................. 314 5.2. Seeing Anew: Haptic Strategies in a Transcultural Frame Facilitating Cosmopolitan-Transcultural Perspectives through Haptic Aesthetics in Nadeem Aslam’s Maps for Lost Lovers (2004) complemented by The Blind Man ’s Garden (2013)........... 332 6. Conclusion.............................................................................. 355 7. Bibliography........................................................................... 367 10
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| adam_txt |
Contents 1. Introduction. 11 1.1. “AH Media are Mixed Media” (Mitchell). 11 1.2. Aim and Method. 13 1.3. Outline. 17 2. Theory and Methodology. 21 2.1. Text and Image. 21 2.1.1. Cultural-Historical and Conceptual Developments of the Rela tionship between Text and Image. 21 2.1.2. Distinctive, Common and Dynamic Features between Different Types of Images and Socio-Formative Writing in Literature and Other Media. 26 2.1.2.1. Images. 26 2.1.2.2. The Act of Socio-Formative Writing. 28 2.1.2. Յ. Photography, Memory, Paintingand Socio-Formative Writing. 32 2.1.2.4. Verbal Images, the Absence of the Explicit Visual Medium, and Socio-Formative Writing. 38 Practices ofLooking: Visualisation and the Reader. 46 2.1.3.1. Visual Culture and Practices of Looking. 46 2.1.3. 2.1.3.2. Approaching the Study of Images: A Semiotic Reading of Im
ages. 48 2.1.3.3. The Visual Object and Its Power to Create and Circulate Mean ing. 50 2.1.Յ.4. Addressing the Viewer. 2.1.3.5. The Viewer’s Perception and the Effects on the Reading Pro cess. 54 7 52
2.2. Postcolonial, Transcultural and Cosmopolitan Literatures and the Relevance of Visual Aesthetics. 59 2.2.1. A Shift in Postcolonial Literatures. 59 2.2.2. Visuality in Postcolonial Literatures. 59 2.2.3. The Relationship between Postcolonialism and Cosmopolitan ism. 60 2.2.4. Re-Routed Postcolonialism and Transcultural Literatures. 2.3. Visual Categories for the Analysis of Socio-Formative Prac tices in Postcolonial and Transcultural Literatures. 67 2.3.1. Re-Vision. 67 2.3.2. The Visual as Resistance. 75 2.3.3. Haptic Visuality. 84 2.3.4. Relations between the Categories and Selection of the Corpus. 95 3. Re-Vision: Postcolonial Re-Figurations and Transcultur al Perspectives of Self and Other. 62 99 3.1. Postcolonial Re-Figurations of Self and Other. 3.1.1. Being Inside-Out: Spotting Traces of Verbal and Visual Entan glements and Postcolonial Re-Figurations in Michael Ondaatje’s Fictional Autobiography Running in the Family (1982). 99 3.1.2. Re-Vision of the Daffodils in Sia Figiel’s “The Daffodils from a Native’s Perspective” (1998). 120 “If
Englishness doesn’t define me, then redefine Englishness” (Levy): Re-Visions of Englishness and British History in Andrea Levy’s Small Island (2004) and The Long Song (2010). 129 3.1.3. 8 99
3.2. Transcultural and Cosmopolitan Perspectives of Self and Other. 152 3.2.1. Re-Visions and Movements of Invisible Links between the Past and the Present in Teju Cole’s Everyday isfor the Thief(2014) 152 Preserving and Transforming Traces of the Past through City Walks: Re-Visions of Postcolonialism and Cosmopolitanism for a Transcultural Dialectics in Teju Cole’s Open City (2011). 166 4. The Visual as Resistance. 177 4.1. (Post)Colonial Aftermaths. Countering War and Trauma. 177 4.1.1. Coming to Terms with the Sri Lankan Civil War: Ekphrastic and Italic Visualisations against Trauma and the Formation of Iden tity in Michael Ondaatje’s Anil’s Ghost (2000). 177 4.1.2. Resistance by Witnessing Apartheid’s Trauma in Sindiwe Magona’s “Please, Take Photographs” (2009). 196 4.1.3. Ekphrastic Criticism of the Northern Irish Conflict in Seamus Heaney’s “Punishment” (1975). 210 4.2. Negotiating Total Visibility Transculturally. 4.2.1. Visualising the Ordinary. Critiquing Photographic Truth and Re sistance towards Total Representability and Visibility in Carol Shields’ The Stone Diaries (1993). 229 4.2.2. Re-Claiming the Female Body: Verbal-Visual Resistance in Se lected Poems of Rupi Kaur’s milk and honey (2015). 243 5. Strategies of Haptic Visuality: New Perspectives on Vis- 3.2.2.
uality. 5.1. 267 Reversing the Ideology of the Western Eye: Haptic Percep tions against a Postcolonial Background. 267 9 229
5.1.1. Exploration of the Invisible: Using Strategies of Haptic Visuality to Discover and Experience Space and the Self in Michael On daatje’s The English Patient (1992). 267 5.1.2. Perceiving Sri Lankan Culture in a Multisensory Fashion through Michael Ondaatje’s “Sweet like a Crow” (1982) com plemented by “Women Like You” (1982) and “The Cinnamon Peeler” (1982). 287 5.1.3. Depicting West African Spiritual Beliefs through Haptic Visual ity in Ben Okri’s The Famished Road (1991). 301 5.1.4. A Matter of Identity: Negotiations of Land, Myth and Muteness through Haptic Aesthetics in Keri Hulme’s The Bone People (1984). 314 5.2. Seeing Anew: Haptic Strategies in a Transcultural Frame Facilitating Cosmopolitan-Transcultural Perspectives through Haptic Aesthetics in Nadeem Aslam’s Maps for Lost Lovers (2004) complemented by The Blind Man ’s Garden (2013). 332 6. Conclusion. 355 7. Bibliography. 367 10 |
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| spelling | Heyer, Martina Verfasser aut Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures Martina Heyer Hamburg Verlag Dr. Kovač 2023 409 Seiten txt rdacontent n rdamedia nc rdacarrier Studien zur Anglistik und Amerikanistik Band 36 Dissertation Universität Passau 2022 Geschichte 1975-2015 gnd rswk-swf Englisch (DE-588)4014777-0 gnd rswk-swf Intermedialität (DE-588)4605581-2 gnd rswk-swf Postkoloniale Literatur (DE-588)4428936-4 gnd rswk-swf Visuelle Wahrnehmung Motiv (DE-588)4493482-8 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Englisch (DE-588)4014777-0 s Postkoloniale Literatur (DE-588)4428936-4 s Intermedialität (DE-588)4605581-2 s Visuelle Wahrnehmung Motiv (DE-588)4493482-8 s Geschichte 1975-2015 z DE-604 Erscheint auch als Online-Ausgabe 978-3-339-13275-8 Studien zur Anglistik und Amerikanistik Band 36 (DE-604)BV015817213 36 Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033953450&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Heyer, Martina Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures Studien zur Anglistik und Amerikanistik Englisch (DE-588)4014777-0 gnd Intermedialität (DE-588)4605581-2 gnd Postkoloniale Literatur (DE-588)4428936-4 gnd Visuelle Wahrnehmung Motiv (DE-588)4493482-8 gnd |
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| title | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures |
| title_auth | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures |
| title_exact_search | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures |
| title_exact_search_txtP | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures |
| title_full | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures Martina Heyer |
| title_fullStr | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures Martina Heyer |
| title_full_unstemmed | Visuality in postcolonial literature visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures Martina Heyer |
| title_short | Visuality in postcolonial literature |
| title_sort | visuality in postcolonial literature visual aesthetics as socio formative practices in contemporary anglophone postcolonial and transcultural literatures |
| title_sub | visual aesthetics as socio-formative practices in contemporary anglophone postcolonial and transcultural literatures |
| topic | Englisch (DE-588)4014777-0 gnd Intermedialität (DE-588)4605581-2 gnd Postkoloniale Literatur (DE-588)4428936-4 gnd Visuelle Wahrnehmung Motiv (DE-588)4493482-8 gnd |
| topic_facet | Englisch Intermedialität Postkoloniale Literatur Visuelle Wahrnehmung Motiv Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033953450&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV015817213 |
| work_keys_str_mv | AT heyermartina visualityinpostcolonialliteraturevisualaestheticsassocioformativepracticesincontemporaryanglophonepostcolonialandtransculturalliteratures |