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: Routledge, 1995); and Jan Nederveen Pieterse, White on Black: Images of Aica and Blacks in Western Popular Culture (New Haven, CT: Yale University Press, 1992). 206 Kira Thurman from audiences throughout Germany and from the German press during their ten-month tour. ey deliberately performed polished renditions of African American spirituals that were accommodating to white American and European ears in order to raise funds for their newly established univer- sity (Fisk University) in Nashville, Tennessee.11 e images that proliferated in the press of the Fisk

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], but he cannot conceive of a strategy which to raise their game. Peter, on the other hand, seems satisfied with the feeling of empowerment that he derives from the break-ins, and even starts to steal some of the valuable objects he finds in the burgled houses, thus perverting the initial justification. He rejects Jan’s 39 See Neil Young, ‘Middle-class revolt. Hans Weingartner’s The Edukators’, <http:// www.jigsawlounge.co.uk/film/reviews/middle-class-revolt-hans-weingartner-s-the- edukators-5-10> who points out similarities to the activities of Charles Manson

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Geltungsanspruch der ‚neuen Super- macht‘. Er überstrahlt wie die aufgehende Sonne den Einfluss der ‚Traumfabrik Hollywood‘, die ihr 100-jähriges Jubiläum feiert. Ihre Stars werden in ‚Chinas Welt‘ zu Randfiguren degradiert. Auch innenpolitische Probleme werden auf diese Weise in symboli- scher Gestalt präsentiert, wie der Spiegel-Titel zum Thema Asyl zeigt. Peter Zimmermann 297 Die Asylantenschlange ist ähnlich wie die Asylantenflut eine bedrohliche Metapher, die sich auch visuell als Sinnbild umsetzen lässt. Schon die Perspektive, aus der das Foto aufgenommen ist, konfrontiert

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(in her discussion of Hollywood films): The Hijab as Metaphor for Linguistic Terrorism 137 In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. (33) M’s marriage to a hacı does not necessarily

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gehaltenen Form des Geschichtener- zählens. Er veranschaulicht die biblischen Prätexte – wie es in einer Einblen- dung im Vorspann heißt – so, wie „[t]housands of Negroes in the Deep South“ sich Gott und den Himmel vorstellten: „in terms of people and things they know in their everyday life“ (M. Connelly 1979: 191). In den folgenden Sequenzen aus dem Alten Testament werden die biblischen Charaktere in ein Repertoire von Typen überführt, die im Hollywood der zwanziger und drei- ßiger Jahre populär waren und auf die schwarze Figuren in aller Regel be- schränkt blieben

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to the meal, the family has been discussing potential travel destinations. The atmosphere is convivial: “Sie hatten […] an diesem Abend alles richtig gemacht, fand er [Haas] jetzt, es war genau die Mischung von Ernst und Herzlichkeit und Fröhlichkeit, die angebracht war” (ZM 12). Marion makes the most of this opportunity to raise a toast: “Prost, Vätcherchen. Die Hauptsache ist, du fährst überhaupt! Ihr fahrt überhaupt” (ZM 12). At another point in the narrative, Kläre attempts to connect with her husband by making him a promise she cannot keep: she

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and Wolfsegg’s history may be regarded as a tragedy, Murau cannot help thinking of his parents’ and brother’s funeral as alternately a grotesque ‘Satyrspiel’ [satyr play] (A, 338) or a melodramatic ‘Filmszene’ [film scene] (A, 441), with his own role being that of the ‘Erschütterte[n]’ [one who is shaken] (A, 492) in a situation that is divested of any pathos and is instead perceived by him as ‘nurmehr noch Theater’ [now merely theatre] (A, 415). While Murau’s filmic perception of the Wolfsegg funeral proceedings evokes Hollywood melodrama, his distanced and

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Tomas Venclova, which I suggest share Brodsky’s interest in ‘psychogeog- raphy’, albeit in a specifically ecocritical way. The film and poem discussed in this chapter relate directly to the contrast between the Soviet Union’s technological vision of progress and modernity and the feelings of loss and disillusionment that followed its disintegration. The sceptical attitude Bartas and Venclova show towards Kaliningrad’s generic Soviet construction (almost totally blended out by Bartas) raise interesting aesthetic questions in terms of the images or 3 Svetlana Boym

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? Is this a sensation the reader is merely to imagine, or is the narrator describing the feeling associated with someone’s act of looking at the light? Or is the narrator revealing his reaction to his own act of looking at the bright moon? This mention of the near-pain of look- ing again raises the issue of narrative perspective—an important concern in subsequent sections of this Hauptstück. One more significant question raised in this introductory section is why the Hauptstück bears the title “Ischtar.” Although it is only barely discernible this early in the

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’s been an absolute Washington bias on the part of the network newscast. … Los Angeles is the second biggest city in the U. S., and Hollywood is very influential in our culture. Routinely reporting on everything that Congress does – just because it did it – is irrelevant, and I think the mood of the public in this presidential campaign bears me out on this. Pock- etbook and health-care issues aren’t trivial pieces just because some guys in Congress haven’t been talking about them. (Sorensen, zit. in: Hamilton 2004: 167) Schaut man sich die Formatentwicklung der „CBS