Cultural Appropriation in Ayad Akhtar's Disgraced
Journal Title: مجلة كلية الآداب جامعة بورسعيد - Year 2023, Vol 25, Issue 25
Abstract
This paper, "Cultural Appropriation in Ayad Akhtar's Disgraced," defines cultural appropriation, discusses its benefits and drawbacks, and examines how the play deals with this topic. It is divided into two sections: (a) The theoretical part provides a brief overview of the concept of cultural appropriation and how it is a debatable one; (b) the practical section deals with actual applications. The study concludes that, due to the absence of offensiveness, harm, stereotypes, immorality, property violation, and misrepresentation, the heroine's borrowing from the Islamic culture is not regarded as cultural appropriation. However, Amir's denial of promotion and Imam Fareed and Abe's punishment for upholding their Islamic heritage constitute what is known as cultural appropriation. The misinterpretation of the Holy Qur'an, in addition to Amir's portrait, is considered cultural appropriation. Cultural appropriation needs not always be negative; it could result in something incredibly innovative and successful. Misconceptions and stereotypes are sometimes the fault of some immigrants due to their shameful deeds. Islam has been addressed in terms of racial prejudice, impassion, and political objectives. Finally, in order to avoid losing their unique identities, immigrants should integrate rather than assimilate.Ù Ø³ØªØ®ÙØµÂ ØªØØ§ÙÙ ÙØ°Ù اÙÙØ±ÙØ© Ø§ÙØ¨ØØ«ÙØ©Ø Ø§ÙØ§Ø³ØªÙاب Ø§ÙØ«ÙاÙÙ Ù٠٠سرØÙØ© اÙ٠خز٠(2012) ÙÙÙØ§ØªØ¨ Ø¥ÙØ§Ø¯ Ø£Ø®ØªØ±Ø ØªØ¹Ø±ÙÙ Ø§ÙØ§Ø³ØªÙÙØ§Ø¡ Ø§ÙØ«ÙاÙÙØ ÙÙ ÙØ§Ùشة Ø£ÙÙØ§Ø¹Ù ÙØ·Ø±ÙÙØ ÙÙÙØ§Ø¦Ø¯Ù ÙØ¹ÙÙØ¨ÙØ ÙØ£Ø®Ùرا دراسة ÙÙÙÙØ© تعا٠٠اÙ٠سرØÙØ© ٠ع ÙØ°Ø§ اÙÙ ÙØ¶Ùع. تÙÙØ³Ù Ø§ÙØ¯Ø±Ø§Ø³Ø© Ø¥ÙÙ ÙØ³Ù ÙÙ: ÙÙØ¯Ù Ø§ÙØ¬Ø²Ø¡ اÙÙØ¸Ø±Ù ÙÙ ØØ© Ù ÙØ¬Ø²Ø© ع٠٠ÙÙÙÙ Ø§ÙØ§Ø³ØªÙاب Ø§ÙØ«ÙاÙÙ ÙÙÙ٠أÙÙ Ù Ø«ÙØ± ÙÙØ¬Ø¯ÙØ ÙÙØªØ¹Ø§Ù ٠اÙÙØ³Ù Ø§ÙØ¹Ù Ù٠٠ع Ø§ÙØªØ·Ø¨ÙÙØ§Øª اÙÙØ¹ÙÙØ© ÙÙØ°Ø§ اÙÙ ÙØ¶Ùع. ØªÙØµÙت Ø§ÙØ¯Ø±Ø§Ø³Ø© Ø¥ÙÙ Ø§ÙØ§Ø³ØªÙتاجات Ø§ÙØªØ§ÙÙØ©. ÙØ¸Ø±Ùا ÙØºÙاب Ø§ÙØ¥Ø³Ø§Ø¡Ø© ÙØ§Ùضرر ÙØ§ÙÙÙØ§Ùب اÙÙÙ Ø·ÙØ© ÙØ§ÙÙØ¬Ùر ÙØ§ÙØªÙØ§Ù اÙÙ ÙÙÙØ© ÙØ§ÙتضÙÙÙØ ÙØ¥Ù استعارة Ø¥Ù ÙÙÙ Ù Ù Ø§ÙØ«ÙØ§ÙØ© Ø§ÙØ¥Ø³ÙØ§Ù ÙØ© ÙØ§ ÙØ¹ØªØ¨Ø± Ø§Ø³ØªÙØ§Ø¨Ø§ Ø«ÙØ§ÙÙØ§. Ù٠ع ذÙÙÂ ÙØ¥Ù Ø¹ÙØ§Ø¨ Ø§ÙØ¥Ù Ø§Ù ÙØ±Ùد ÙØ¢Ø¨Ù عÙÙ Ø§ÙØªÙ س٠بتراثÙ٠ا Ø§ÙØ¥Ø³ÙØ§Ù Ù ÙØ±Ø¨Ø Ø¥ÙÙ ÙÙ Ù Ù Ø§ÙØ§Ø³ØªÙاب عÙ٠اÙÙÙÙÙ Ø§ÙØ¥Ø³ÙØ§Ù ÙØ© ÙØ´Ù٠٠ا ÙØ¹Ø±Ù Ø¨Ø§Ø³Ù Ø§ÙØ§Ø³ØªÙاب Ø§ÙØ«ÙاÙÙ. ÙÙØ¹Ø¯ Ø§ÙØªÙØ³ÙØ± Ø§ÙØ®Ø§Ø·Ø¦ ÙÙÙØ±Ø¢Ù اÙÙØ±ÙÙ Ø¨Ø§ÙØ¥Ø¶Ø§ÙØ© Ø¥ÙÙ Ø±Ø³Ù Ø£Ù ÙØ± عÙÙ ÙÙØ¦Ø© عبد Ø§Ø³ØªÙØ§Ø¨Ø§ Ø«ÙØ§ÙÙØ§. Ø¥Ù Ø§ÙØ§Ø³ØªÙÙØ§Ø¨ Ø§ÙØ«ÙاÙÙ ÙÙØ³ دائ٠ا Ø³ÙØ¨ÙÙØ§Ø إذ ÙÙ ÙÙ Ø£Ù ÙØ¤Ø¯Ù Ø¥ÙÙ Ø£Ø´ÙØ§Ø¡ Ù Ø¨ØªÙØ±Ø© ÙÙØ§Ø¬ØØ© بشÙÙ ÙØ§ ÙØµØ¯ÙØ ÙØ£Ø¹Ù ا٠ÙÙÙØ§Ù Ø´ÙØ³Ø¨Ùر Ù Ù Ø®ÙØ± Ø§ÙØ£Ù Ø«ÙØ© عÙ٠ذÙÙ. اÙÙ ÙØ§ÙÙÙ Ø§ÙØ®Ø§Ø·Ø¦Ø© ÙØ§ÙØµÙØ± اÙÙÙ Ø·ÙØ© ÙÙ Ù٠بعض Ø§ÙØ£ØÙا٠خطأ بعض اÙÙ ÙØ§Ø¬Ø±Ù٠بسبب Ø£ÙØ¹Ø§ÙÙ٠اÙÙ Ø®Ø²ÙØ©. ÙÙØ¯ ØªÙ ØªÙØ§ÙÙ Ø§ÙØ¥Ø³Ùا٠(دائ٠ا) Ù Ù Ù ÙØ¸Ùر Ø§ÙØªØÙز Ø§ÙØ¹ÙØµØ±Ù ÙØ§ÙØ¹Ø§Ø·ÙØ© اÙÙ ÙØªÙبة ÙØ§ÙØ£ÙØ¯Ø§Ù Ø§ÙØ³ÙØ§Ø³ÙØ©. Ø£Ø®ÙØ±ÙØ§Â ÙØ¬Ø¨ عÙ٠اÙÙ ÙØ§Ø¬Ø±ÙÙ Ø£Ù ÙØªØ¨ÙÙØ§ Ù ÙÙÙÙ Ø§ÙØ§Ùد٠اج Ø¨Ø¯ÙØ§Ù Ù Ù Ù ÙÙÙÙ Ø§ÙØ°ÙØ¨Ø§Ù Ø§ÙØ«ÙاÙÙ Ù Ù Ø£Ø¬Ù ØªØ¬ÙØ¨ ÙÙØ¯Ø§Ù ÙÙÙØ§ØªÙÙ Ø§ÙØ£ØµÙÙØ©.
Authors and Affiliations
ÙAshraf Ibrahim Zidan,
Ø£ÙØ³ÙØ© Ø§ÙØ®Ù ر Ù٠شعر أب٠ÙÙØ§Ø³ (ت ØÙاÙ٠١٩٩Ù) Ù ÙØ§Ø±Ø¨Ø© تأÙÙÙÙØ©
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