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what Americans fantasize about being seduced by an Arab.« (Alameddine 1998: 117) Während sich der arabisch-amerikanische Ich-Erzähler in einem Mo- ment der gebrochenen Handlung mit offenbar autofiktionalen Referen- zen deutlich ins Außen jeder ethnisch-nationalen Zugehörigkeitskon- struktion stellt, um über die Amerikaner – »They are naive and dumb. And I hate that.« – und die Libanesen – »The Lebanese are just arro- gant […] Those fuckers are too busy juging everybody else’s life to live their own« – zu polemisieren, erkennt derselbe Künstler und tragi- 286

of Pula Film Festival and Croatian Film (2013, ed. co-edited). Jakiša, Miranda, professor of South and East Slavic literatures at Humboldt University Berlin. Her main research interests are literature, film and cultural studies, performance studies. Recent publications: Yugoslavia – Lebanon. Negotiations of Belonging in the Arts of Fragmented Cultures (2012), Remembering War and Peace in Southeast Europe in the 20th Century (2014, co-edited). 380 | PARTISANS IN YUGOSLAVIA. LITERATURE, FILM AND VISUAL CULTURE Jovanović, Nebojša, PhD candidate of gender

conception of texts with relation to their contexts and readers.« 20 | Jorge Luis Borges, Poesía completa, Barcelona: Lumen, 2011, S. 150, V. 3–4. 21 | Thomas De Quincey, Confessions of an English Opium-Eater. To which is added The Daughter of Lebanon, forming part of »Suspiria de Profundis«, in: De Quincey’s Works, Bd. 5, London: James Hogg & Sons, 1856, S. 266. »But now that affection, which I have called the tyranny of the human face, began to unfold itself. [...] [N]ow it was that upon the rocking waters of the ocean the human face began to reveal itself; the sea

: 270) The narrator chooses an example to illustrate the “[…] sybaritic and nearly insan- ity-producing pampering [...]” (ibid: 290) that is not connected to his theoretical examinations. He describes how he wants to get his luggage to his cabin by himself, something that puts the “Lebanese porter […] in a terrible kind of sedulous-ser- vice double bind, a paradox of pampering: viz. the The-Passenger’s-Always-Right- versus-Never-Let-A-Passenger-Carry-His-Own-Bag paradox” (ibid: 291). Later, a higher-ranked officer comes to apologize for the porter’s “misbehavior

a Jewish Lebanese; Miss Becky Patterson, assistant at the British Library with a degree in Tibetan, is the daughter of third-generation Zimbabwean farmers; Miss Yoshi Kamimura, a Japanese language student, is pregnant from an Italian fascist drug dealer; Mr Igor Klimov and Mr Dimitri Belinkov are illegal Russian immigrants looking for work. And Mrs Rezia Begum, an immigrant from a Bengal village to Brick Lane, is reminiscent of the character Nazneen in Monica Ali’s novel. The novel, however, does not only chart this multiplicity of strangers, immigrants, and