ABSTRACT In this article, I explore how national belonging in Lebanon is (re)negotiated in the aftermath of a protracted civil war. More particularly, I investigate the nostalgic underpinnings of Lebanese popular culture, mainly Ziad Doueiry’s hit film, West Beyrouth and the revered singer, Fairouz, to examine what their popularity and deep resonance within Lebanese society reveal about the collective, affective negotiations of living with loss in the Lebanese context. I situate these works within a larger discourse on nostalgia in postwar Lebanon to complicate earlier assertions about nostalgia as an uncritical and insidious affective mode operating largely in service of unjust power relations. While I do not dismiss these earlier theorizations, I argue that an attention to the consumption and circulation of Lebanese popular culture reveals how nostalgia is not only fundamental to the way power operates as a top-down phenomenon, but it is simultaneously embedded within a more diffuse network of narratives and discourses that shape national publics and that unfold as affective negotiations of loss.

中文翻译：

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（重新）谈判归属感：战后黎巴嫩的怀旧与流行文化

摘要 在本文中，我探讨了在长期内战之后如何（重新）谈判黎巴嫩的民族归属感。更具体地说，我调查了黎巴嫩流行文化的怀旧基础，主要是 Ziad Doueiry 的热门电影 West Beyrouth 和受人尊敬的歌手 Fairouz，以研究它们在黎巴嫩社会中的受欢迎程度和深刻的共鸣揭示了与失落生活的集体情感谈判在黎巴嫩语境中。我将这些作品置于关于战后黎巴嫩怀旧的更大话语中，使早先关于怀旧的断言复杂化，认为怀旧是一种主要为不公正的权力关系服务的不加批判和阴险的情感模式。虽然我不否认这些早期的理论，