Salman Rushdie and Visual Culture : Celebrating Impurity, Disrupting Borders

@inproceedings{Mendes2012SalmanRA,
  title={Salman Rushdie and Visual Culture : Celebrating Impurity, Disrupting Borders},
  author={Ana Christina Mendes},
  year={2012}
}
1. Editor's Introduction: Salman Rushdie's "Epico-Mythico-Tragico-Comico-Super-Sexy-High-Masala-Art," or Considerations on Undisciplining Boundaries Ana Cristina Mendes 2. Merely Connect: Salman Rushdie and Tom Phillips Andrew Teverson 3. Beyond the Visible: Secularism and Postcolonial Modernity in Salman Rushdie's The Moor's Last Sigh, Jamelie Hassan's Trilogy and Anish Kapoor's Blood Relations Stephen Morton 4. 'Living Art': Artistic and Intertextual Re-envisionings of the Urban Trope in The… 
London Passages: Mobility and Embodiment in Salman Rushdie's The Satanic Verses
Early in his memoir, Joseph Anton (2012), Salman Rushdie traces "the fragments of narratives and characters" (68) that would coalesce into the novel The Satanic Verses. Although the novel brings
Competing Fantasies and Alternative Realities: Salman Rushdie's The Golden House
This article examines one of the earliest novels of the Trump era, Salman Rushdie's The Golden House (2017), as part of a literary corpus that felt compelled to respond to the derealization of
Padma or No Padma: Audience in the Adaptations of Midnight’s Children
It is remarkable that what many consider as Salman Rushdie’s landmark work in fiction, Midnight’s Children, was first adapted to film only in 2012, 31 years after its publication. It was also the
Realism for the post-truth era: politics and storytelling in recent fiction and autobiography by Salman Rushdie
  • J. Hoydis
  • Art
    Fact and Fiction in Contemporary Narratives
  • 2019
ABSTRACT This essay analyses Rushdie’s novel The Golden House and his memoir Joseph Anton to explore entanglements between fact and fiction, raising questions about the perception and use of realism