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century, it could happen that quarrelling Arabs chose a Jew as judge, or they turned directly to the Head of a Jewish settlement for council, help, or judgement. There were really no problems (my translation).] 5 Texts about the Second World War often configured the Orient as an ideal setting for crime and spy narratives involving Nazi German interests in the Arab world. This is the case in Casablanca (1942) directed by Michael Curtiz, one of the Central European Jewish film directors in Hollywood. Casablanca foregrounds European politics and a love triangle among

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of place by opening the volume. 2 Gilman’s substantial essay on racial fantasies in the writing of Austrian Jews, and Grimm’s essay on Germans, Blacks, and Jews bookend the remainder. 3 They raise intriguing questions concerning Jewish writers’ ← 196 | 197 → anxieties about their own racialization, and consider these writers’ projection of their anxieties onto black characters. Both work from the premise that blackness in German literature was entirely fantasmatic, untethered from social reality, and that it was “blackness without blacks,” as Gilman had titled

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decided to raise the number of books of its first printing to 150,000 and pushed the publication date forward by five months. Once the official cover was revealed, the minimalistic design 5 of two overlapping clouds (one black, one white), which contain the author’s name and the novel’s title respectively seemed to become iconic almost immediately. Several meme’s – both serious and ironic – exist today (and are sold in several forms of merchandise). All of this happened before the book was even in stores. This paratextual activity, however, was easily available on

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works have been translated into English. Guibert, Hervé (1955–1991) A French filmmaker, writer of novels, and a photographer. The contents of his stories are strongly erotic. Guibert was a friend of Michel Foucault, among others. He helped raise awareness about AIDS among the French public through his autobiographies such as Le Protocole compassionnel (The Compassionate Protocol; 1993). For documentation on his literary production, reactions and responses to being diagnosed with AIDS, and presentation of Guibert’s voices of the self, see Hervé Guibert: Voices of

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Artaudian point of view that a physical, gestural language is especially suitable to raise awareness of life’s cruel, primordial forces, the shock tactics employed by Hesse in the final stage of the production appeared to be unsuccessful. On a narrative level, the last scene of the play alludes to the horror felt by witnesses of the Madrid train bombing that had occurred only a year before Gotteskrieger premiered. On an affective level, however, the scene produced little to no sense of terror. On the contrary, a critic of the Berliner Zeitung describes the audience

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Moscow, this term had not yet metamorphosed into a slur and an assault weapon. 86 In the face of increasing Russian nation ←184 |  185→ alism and self-chosen isolation, the emphasis on internationalism and cosmopolitanism was probably no longer considered opportune. Sergei Tret’iakov raised the principal Soviet objection: the cosmopolitans were missing something essential, namely a “homeland”. In the post-war period, the cosmopolitan in general and the “rootless cosmopolitan” in particular, was considered a de facto enemy of the people and a traitor to the homeland

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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 ←208 |  209→ architectures of ‘home’. The search for home and the eventual discovery of provisional forms of refuge imply the possibility of a more sustainable future – hinting towards the concerns Svetlana Boym deemed ‘off-modernism’ in her work on nostalgia. Even so, we should be wary of ‘dystopian’ images of Kaliningrad, for

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Representations of Muslim Women in German Popular Culture, 1990–2015 Chapter 4 Film German film is part of an international entertainment industry dominated by big-budget Hollywood productions. In the post-1990 period, the national market share of German films peaked at 27.4 per cent in 2009. 1 Domestic productions have topped annual box office charts in Germany just twice in this period: firstly, with Star Trek parody (T)Raumschiff Surprise – Periode 1 (dir. Michael Herbig) in 2004 and secondly, with romantic comedy KeinOhrHasen [ Rabbit

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matter around which my interest hovers. A trilogy of the present era must necessarily deal with particular epistemological challenges. These successive books are sparked by specific events, yet tied together with a grand view of history. 9 When Success was published in 1930, it was not foreseeable that Feuchtwanger’s analysis of the contemporary era would develop into a trilogy of the interwar or “transitional” 10 period, as Feuchtwanger would finally term it in the October 1939 postscript. A trilogy of the present raises ←217 |  218→ the following basic question

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solidarity with him. One banal, though telling, example of this occurs when the three of them are having dinner. Prior 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