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Racism changes its meaning, shape, purpose or function according to various factors such as time, place, motives, and backgrounds; among others. It seems, however, to have deep roots back in the history of mankind. Such a concept stems from a perceived difference with the other. It is fed by the feeling of being hierarchically superior in opposition to another party that is depicted as inferior. Since ancient times, racism is disguised in different forms and manifests itself on various levels. It is a truism that this ideology can be best presented via language. Due to its negative implication, racism lends itself to a critical kind of research. As such, this paper is a critical pragmatic investigation for this phenomenon as conceptualized in the Glorious Quran. Critical pragmatics focuses on how the pragmatic theories scrutinize the reflection of a negative issue in language where aspects of power or ideology are highlighted. These theories, in turn, provide the pragmatic strategies that underpin the illegitimate issue under investigation. This paper sets for itself the task of answering these questions: How is racism manifested in the Glorious Quran by the unbelievers? What are the pragmatic theories that are utilized to impart this notion? It aims at finding out the manifestations of racist ideology in the Glorious Quran and discovering the pragmatic theories utilized to convey racism. It is hypothesized that racism is realized explicitly and implicitly. Basic pragmatic theories are utilized to convey it such as referencing or speech acts. A number of racist utterances in the Glorious Quran are fetched to be under scrutiny. The analysis verifies the set hypotheses. It is hopeful that this study is beneficial to those interested in linguistics and religious studies.

George Colman's Inkle and Yarico, 1787, is regarded as an integral part of the eighteenth century anti-slavery literary discourse. This paper challenges the dominant critical perception of Colman's Inkle and Yarico as an anti-slavery work and re-reads it as a dramatic attempt to defend slavery and by extension colonization. Colman achieves his goal through three calculated elements: dehumanization of the Indians; humanization of the English; distancing the English from slave trade. By applying the theory of tropicality, it becomes clear that the environment and population of the West Indies emerge as inferior (Other) to those of England (Self). Indigenous feminism enables us to avoid the romantic and sentimental trap and tap into Colman's manipulation of Yarico's power as an indigenous woman. Colman employs her power to sanctify Inkle, the colonizer and the representative of imperialism as the new master of the land and its inhabitants.

White society's reduced and etherized representation of the African American has always presented a challenge to African-American writers, historians, and intellectuals who wanted to write Black people into existence, present their repressed, excluded, or subordinated history, culture, and social milieu, and re-tell their many other stories. Frantz Fanon (1925 1961) was a theorist who framed the issue of race in 'sociogenic' rather than 'bio centric' terms. His contribution lies in showing how such arbitrary constructs as 'White' and 'Black' predetermine our way of seeing but not truly seeing one another. When Blacks are seen solely in terms of racial stereotypes, they become \"flat\" images based only on ideologized 'epidermal inscriptions' whose actual humanity is denied, potentially leading to a lack of self esteem and an 'inferiority complex.' This paper examines one of Amiri Baraka's famous plays, Dutchman (1967), from a Fanonian perspective to explore the troubled relationship between the colonizer (White) and the colonized (Black). In Dutchman, Baraka espoused his unapologetic blackness together with his determination to identify, call out, and wage a battle against racial injustices. Both Baraka and Fanon examine violence, sexual exploitation, and discrimination that Whites have perpetuated on blacks, and the two writers' intention was to awaken audiences and inspire change thereby ending the cycle of prejudice and discrimination against Blacks.

Maya Angelou is considered a major modern African American writer who presents an outstanding example for her race to know how to overcome frustration as well as misery and reach glory together with dignity. In her personal life, the black poet faced numerous obstacles and hardships which failed to ruin her. Therefore, she did her best to describe her success in defying such hard circumstances and defeating them. Besides, she attempted to convey these experiences to encourage her fellow-black citizens to fight for freedom, equality and justice. The noted author was well aware of the idea that blacks in America faced two ferocious enemies represented in slavery and racism. Throughout her poetry, Angelou was keen on depicting her people's suffering, misery and wretchedness due to the morbid effects of these two hideous enemies. However, she was simultaneously concerned with the encouragement of the black victims to resist all the types of oppression inflicted on them at the hands of the white racists. To her, the only way to achieve liberty and equality in America was through endurance and resistance. In order to elucidate such ideas in Angelou's poetry, the researcher uses the New Historicism critical approach.

This study investigates the depiction of race and gender in August Wilson's American Century Cycle, precisely concentrating on these four plays: Fences, Ma Rainey's Black Bottom, Joe Turner's Come and Gone, and The Piano Lesson. It simply provides an analysis of how the playwright used such plays to portray the African Americans experiences along the 20th century. He paid a close examination of the complicated gender and race relationships within that systematically marginalized black community. Making use of literary analysis and historical research, the study proves that Wilson's plays present a unique perception of the Afro- American experience. They successfully highlight the force of systemic oppression on both individuals and communities. The plays also delve into how black men and women coexist and confront those discriminatory systems. Eventually, the study shows how Wilson's plays propose compelling critiques of racism in American society, combating dominant traditional narratives by suggesting new intuitions for an interminable struggles for racial and gender equality.

The discourse of racism that has been per se attached to colored people is now linked to a wider circle, including whites. The essence of my article is to examine the \"new racism\" communicated by the Joker film by revisiting theories about modern racism. I will mainly rely on Michel Foucault's state racism and internal racism explored in his lectures, Society Must Be Defended (1976) and his Abnormal Lectures at the College de France (1974-1975). Postmodernism proves that the notion of racism has transcended skin-color differences into distinctive forms of institutionalized discrimination. The fact that this discrimination is governmental, made the discourse of racism more complex. It has even been internalized into the mass population as the new mainstream model. This mainstream model excludes all \"abnormals,\" which could be the mentally ill, disabled people and criminals, or anyone who does not function properly in the capitalist society. The analysis of the film reveals that people with mitigating circumstances like disabled and clowns are otherized and ostracized on the accounts of their difference, thereby entering a pro tanto social invisibility.

The present study sheds light on August Wilson's dramatic craftsmanship in regard to his play Fences. It shows how Wilson manages to concretize on stage the marginalization of the traditional Black/White struggle. As shall be shown in the study, the playwright gradually unfolds various points of views held by the black characters regarding their white counterparts through the play's central character Troy Maxson. Fences is basically a social drama which deals with family problems such as the father-son relationship, husband-wife relationship, social identity and the role of the individual in society. But what the audience / reader cannot overlook is the absolute presence of the black characters in the play and the total absence of the white characters on stage. The present paper also intends to show that the 'off-stage' white characters make a powerful impact which influences the lives of black characters in Wilson's Fences. The so called long-standing Black/White struggle and enmity is replaced by Black/Black social life, and the great desire of the black community to make a progressive and better life.

سلط المقال الضوء على موضوع بعنوان الفلسفة والعنصرية من التمييز بين الأعراق إلى التنوع والعيش سوياً. منذ سنوات عديدة تتجاوز العقدين من الزمان، ربما قبيل بداية الألفية الثالثة ونحن في العالم اللاغربي، عالم آسيا وأفريقيا، وأمريكا اللاتينية مع تيارات عديدة في الفكر الأوروبي نواكب هذا التحول والتغير والانتقال في ظل الحضارة التي نحياها المتجهة إلى تفكير جديد يقر التنوع والتعدد وتأكيد الاختلاف واحترام الآخر، وظهرت مفاهيم جديدة في فلسفة زماننا الحالي. وقد توصل المقال إلى أن النقد الفلسفي كما أثمر أشكاله المختلفة من كانط وبعد كانط والوعي التاريخي الذي حدد هيجل طريقه الجدلي، هما طريقا التفلسف اليوم. وناقش المقال مفهوم العنصرية في كتابات كانط ودراسات من وجهة نظر متعددة لفيلسوف النقد والتنوير، وتناول عدة دراسات عن مجموعة من الأساتذة العرب المعاصرين ضمن من يندرجون في موسوعة الفلاسفة العرب. واختتم المقال بذكر كل من رجب بودبوس الفيلسوف الاجتماعي الليبي، ونجيب الحصادي الابستمولوجي الذي أثرى الدراسات العربية في فلسفة العلم ثراءاً كبيراً بدراسات وترجمات متعددة في هذا المجال. كُتب هذا المستخلص من قِبل المنظومة 2022

This article is dedicated to the analysis of racist ideology in literary discourse. Taking clues from discourse historical approach that explained the required strategies in analyzing discourse, the present research examines the different ways in which stereoptypes can be encoded in the language of literary texts as well as it investigates the linguistic manifestation of racist beliefs in the language of discourse. The study provides descriptive analysis of different lexical terms and linguistic structures in the literary text Heart of Darkness' by Joseph Conrad to offer insights into the way language affects thought.

This study aims to analyze, through the use of the critical stylistic approach suggested by Lesley Jeffries in her book Critical Stylistics: The Power of English (2010), two novels namely; The Help by Kathryn Stockett, and The Known World by Edward P. Jones, in an attempt to reveal how their ideologies are reflected in the selected novels. The study aims at answering the following questions: 1. How do the authors of The Help and The Known World reflect their ideologies concerning slavery, racism, gender and sexism? 2. How does the critical stylistic approach depict the violence of racism and slavery in The Help and The Known World respectively? 3. How does the critical stylistic approach clarify the difference between the narration of a white person (Kathryn Stockett) and that of a black one (Edward P. Jones) about racism, slavery, gender and sexism? The study uses specific tools of analysis including naming and describing, representing actions/events/states, equating and contrasting, exemplifying and enumerating, prioritizing, implying and assuming, negating, presenting others ,,speech and thoughts and representing time, space and society. The analysis reveals the ideology of both Stockett and Jones in their attempts to reflect the effect of racism and slavery on African-Americans. The results show that both Stockett and Jones differ in their attitudes concerning the issue of racism and slavery respectively. Stockett perpetuates racism and Jones rejects slavery altogether. They also differ in their way of tackling these issues and in their style of narration.