Acknowledgements Illustrations and Permissions Introduction Michael Meyer: Word & Image – Gaze & Spectacle Colonial Representations Daniel Jaczminski: Liberating the Strange Fish. Visual Representations of Caliban and Their Successive Emancipation from Shakespeare’s Original Text Peter Wagner: Hogarth and the Other Patricia Plummer: “The free treatment of topics usually taboo’d”. Glimpses of the Harem in Eighteenth- and Nineteenth-Century Literature and the Fine Arts Cordula Lemke: Tourist Places, Other Gazes. Robert Louis Stevenson’s Edinburgh Postcolonial Representations Gisela Feurle: “Picture is a Silent Talker” (Apagya). African Studio Photography in the English Classroom Sonja Altnöder: A Black and White Nation? The ‘New’ South Africa in Zapiro’s Cartoons Marita Wenzel: Zakes Mda’s Representation of South African Reality in Ways of Dying, The Madonna of Excelsior and The Whale Caller Heilna du Plooy: Looking Out and Looking In. The Dynamic Use of Words and Images in the Oeuvre of Breyten Breytenbach Susan Arndt: Whiteness as a Category of Literary Analysis. Racializing Markers and Race-Evasiveness in J.M. Coetzee’s Disgrace Ann Spangenberg: “Just for show”. Visuality in Timothy Mo’s The Monkey King Laurence Petit: On Pickles, Pictures, and Words: Pick-torial Preservation and Verbal Self-Regeneration in Salman Rushdie’s Midnight’s Children Lucia Krämer: “Neither united nor separated”. Negotiating Difference in Ashutosh Gowariker’s Lagaan and Ketan Mehta’s Mangal Pandey Christine Vogt–William: Transcultural Gender Interrogations in Bride and Prejudice. Intertextual Encounters of the South Asian Diasporic Kind Rainer Emig: Missing in Act(i)on. Asian-British Pop Music Between Resistance and Commercialization Renate Brosch: Vernacular Landscape. Narrative Space in Peter Carey’s True History of the Kelly Gang Michaela Moura–Koçoğlu: Regaining the Past and Shaping the Present. Indigenous Children’s Fiction from Aotearoa New Zealand, Canada, and the USA Nicole Schröder: Between Words and Images. Negotiating the Meaning of Home in Ken Lum’s There Is No Place Like Home Jens Martin Gurr: The Mass-Slaughter of Native Americans in Jim Jarmusch’s Dead Man. A Complex Interplay of Word and Image Notes on Contributors

”Word & Image in Colonial and Postcolonial Literature and Cultures is an impressive and attractive collection. It should be borne in mind that what is not at stake in Word & Image is a through-going investigation into the realpolitik of colonialism, but rather an examination of aesthetic representation in a cross-cultural context. In this sense, the collection overall avoids the difficult politics of colonial legacies, with most essays preferring instead to concentrate on the limits of word/image representation. In this regard it is a welcome addition to the store of recent postcolonial scholarship on the ideological impulses behind words and images.” - Eoghan Smith, Carlow College, Ireland, in: The English Messenger 23.1 (Summer 2014), pp. 82-84