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Descriptions of the sheikh hero heart on his physical look, autocratic conduct, relationship to the desert via clothes and animalism, and hybridity. A lot of of these features are traceable straight back to Hull’s Ahmed (Anderson 189).

The sheikh hero is “tall and broad-shouldered” (Anderson 189), “physically imposing”, “ruggedly [Conclude Site fifteen] handsome” (Burge, Symbolizing Change eighty), “dark” (Teo, Desert Passions a hundred and sixty), “wholesome” and “physically experienced” (Regis a hundred and twenty). He is “haughty, arrogant, dominating, authoritative, a legislation unto himself” (Regis a hundred and twenty see also Flesch 213 Jarmakani, “Sheik” 998 Teo, Desert Passions a hundred and sixty). In brief, he “possesses to the intense the qualities standard of alpha male heroes in twentieth-century popular romance novels” (Regis a hundred and twenty).

He “wears a major cloak and white flowing robes” (Anderson 189) which “serve as exotic [and racial] markers while simultaneously running as key signifiers of erotic sexuality” (Jarmakani, Imperialist 147 see also a hundred and fifty-fifty one). Bach notes the sheikh hero is “nearly without exception, explained at some level in conditions of a chook of prey” (29), or likened to “the predatory large cats – lions, tigers, panthers or leopards” (Flesch 213), conflating the “erotic and the animalistic” (Gargano 180-eighty one).

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Jarmakani draws on Donna Haraway and Michel Foucault to argue that the sheikh’s animalism connects him to terrorism and constructs him as a “monster par excellence ” ( Imperialist seventy one-seventy two see also “Sheik” 1007-eleven). The sheikh’s ethnic and racial id impacts on his gender. Jarmakani identifies a simultaneous characterising of the sheikh hero as hypermasculine and tender and feminine ( Imperialist 169). Burge, on the other hand, posits that the association of the sheikh with specific factors of the desert setting – its landscape, lifestyle (in particular the harem), and Orientalist assumptions about the writersperhour better animalism of Arab gentlemen – are deployed to bolster his hypermasculinity, whilst other individuals – the perceived effeminacy of japanese apparel – are unsuccessful to problem his characterisation as supremely masculine ( Symbolizing Difference 80-84).

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Discussion of the race of modern day sheikh heroes follows comparable lines to Hull’s Ahmed (hybridity, clothing, association with the desert). [ten] Having said that, the emergence of heroes with Arab ethnic heritage in the 1970s (Burge, Representing Variance 31) and changing discourses of Arab/Muslim/Middle Eastern racial identification (Jarmakani, Imperialist 127-28) have even more produced scholarly discussion. The sheikh’s hybridity and distinction from other Arabs is key to his articulation, just as for Ahmed. This is attained by “trope[s] of civilisation” (Jarmakani, Imperialist 144).

Ahmed is meticulously clear, cultured (signalled by his French publications and command of English), and, ultimately, is not definitely an Arab at all (at minimum not entirely) (Bach 29-34 see also Jarmakani, Imperialist one hundred forty four).

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This distinctiveness persists for modern day sheikh heroes, who often have European heritage (Bach 36-37 Jarmakani, Imperialist 119) and who are described as diverse to ‘bad Arabs’ (to borrow Jack Shaheen’s phrase) (Burge Symbolizing Variation 108 see also Flesch 215-sixteen), but also as distinctive from European males, who look “gallant [and] passionless” by distinction (Bach 18). The modern sheikh hero is almost never homogenous in his ethnic identification he is “culturally, linguistically, educationally, or politically hybrid in some way” (Burge Representing Big difference 105) – a “liminal, in-between [figure]” (Taylor 1034) who straddles “classic and present day worlds” (Jarmakani, “Sheik” 995). [eleven] Jarmakani reads the sheikh hero along with US “racial logics,” arguing that “his characterization mimics the conflation and confusion of ethnic (Arab), religious (Muslim), and geographic (Center Jap) markers” “Blade” 897).