Colonialism radically transformed the cultures of colonized peoples, often rupturing Indigenous traditions and folklore. Whether creating colonial discourse, promoting orientalist literature, advocating western educational institutions, or through biased media representations, imperial powers systematically oppressed Indigenous and Native peoples. Subjugated communities, however, created, and still form postcolonial discourse from their knowledge systems. This discourse insists on Indigenous and Native culture as central to Indigenous and Native peoples identity. This study examines the postcolonial literature of three groups: Kānaka Maoli, African Americans, and Iraqis. The scope of this dissertation scrutinizes how folklore is employed as resistance in the postcolonial literature of Kānaka Maoli, African Americans, and Iraqis. Folklore as Resistance in Postcolonial Narratives and Cultural Practices: Hawaiian, African American, and Iraqi focuses on the centrality of folklore and cultural histories in the literature of these three groups. Kānaka Maoli emphasize the mo’olelo (hi/story) in their literature. Moʻolelo acts not only as a means to pass down hi/story and culturally significant stories from generation to generation (a genealogy) but also as a mode of resistance to hegemonic and imperial powers. Moʻolelo are not merely legends or myths; instead, they represent ancestral knowledge and connection to Kānaka history. Kānaka Maoli claim and revive ancestral moʻolelo in their literature and cultural performance to illuminate their relationship to place, ʻāina, and their country, the Hawaiian Kingdom. In this work, Dhiffaf al-Shwillay suggests that there are similar tendencies in the literature of Kānaka Maoli, African American, and Iraqis. The folklore and literature of these groups signify the histories of oppression and/or colonization and its aftermath. Al-Shwillay finds that Kānaka Maoli, African American, and Iraqi folklore in literature can be read as resistance to orientalism, oppression, and stereotyping. Following the trajectory of the historical and cultural context for the literary productions of these three communities, she offers analysis and reading of Sage Takehiro, Dana Naone Hall, Haunani-Kay Trask, Brandy Nālani McDougall, Zora Neale Hurston, Badr Shakir al-Sayyab, and Selim Matar. This dissertation concludes by emphasizing the dynamic political and cultural value of moʻolelo and folklore in postcolonial narratives. Al-Shwillay asserts that literature that draws upon folklore and cultural histories transmits evidence of oppressive powers and, crucially, resistance. In this mode of examination of postcolonial literature, al-Shwillay asserts that folklore records the resistance of peoples through their literary production. Folklore carries the knowledge of ancestors, cultural, and history.
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The difference and pluralism among members of the same society is a fact undeniable and ignored, passed by the Quran, and confirmed by the Sunnah of the Prophet Mohammed in more than one occasion, so that the Apostle r placed a document included in its terms an agreement with the Jews, and recognized the coexistence between Muslims and Jews, which stems from the great principle of a tolerance, which recognizes the rights of others and the freedom to believe what is believed to be right, so it was incumbent upon us, and we live in rivalry repulsion and jealousies to recognize the principle of coexistence with the other, and accept it in accordance with the legitimate controls with pride of belonging to the Islamic religion, in this sense
... Show MoreAlthough the term' tautology' predicts negative connotation, it is often employed by poets and lyric writers to communicate more implied meanings. Through the use of tautological expressions, they exchange ideas, give more possibilities to readers to detect the meaning behind the tautological words and thus suggest details not openly communicated in the poem. Ten American song lyrics and ten American poems have been selected to be the data for the study. Data analysis is conducted on the basis of three steps:(i) identifying the type of tautology used ,(ii) detecting the syntactic realization of the tautology and (iii) finding the functions of the use of tautology in these lyrics and poems. The study concludes that song lyrics and p
... Show MoreAPDBN Rashid, 7th International Conference on Multidisciplinary Sciences (7th ICOMUS), 2021
DBNRAAK Mohammed, International Journal of Research in Social Sciences and Humanities, 2020
BN Rashid…, Special Education, 2022
Review of multidrug sensitivity and resistance in enterococcus
Deception is an inseparable facet of political discourse in attaining strategic political gains though compromising public opinion. However, the employment of discursive deception strategies by the policy-making institutions of think tanks has not received due attention in the literature. The current study aims at exploring how the ideologizing deception strategies are utilized by the conservative American think tank of the Washington Institute to reproduce socio-political realities and re-shape public opinion. To fulfill this task, van Dijk’s (2000) notion of ideological polarization which shows positive self-representation and negative other representation is adopted to conduct a critical discourse analysis of four Arabic texts relea
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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female
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