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Register a new userAfrican Women in Hurston's Play Color Struck
النساء الأفريقيات في مسرحية هيرستن عقدة اللون
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إن الهدف من هذه الدراسة هو تصوير واقع المرأة الإفريقية في مسرحية عقدة اللون لزورا نيل ىيرستن، و ما تعانيه من ظلم و اضطهاد و تجريدها من أبسط حقوقها الإنسانية في ظل الطبقية و من قبل المجتمع الذكوري. تطمح هذه الدراسة أيضا" إلى عرض العديد من أشكال التمييز العنصري و الطبقية و مشاكل الهوية و اللون.
The present study portrays the image of the black woman, in Zora Hurston' Color Struck, who is still subject to prejudice and violation of all human rights, and shows how this woman is doubly oppressed by the fact of colorism and the male-dominated society. In addition, the purpose of this study is to tackle many perspectives of racism, inferiority, and problems of identity. It also shows the obsession of the African women with the concept of beauty and her resentment of her own black color.
References used
Broonzy, Big Bill. Get Back ( Black, Brown, and White). Florida: Midwest Blues, 2010
Hurston, Zora. Color Struck. New York: Fire Magazine, 1926
Fears, L. M. "Colorism of Black Women in News Editorial Photos." The Western Journal of Black Studies22.1 (1998):30- 36
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يحلل هذا البحث مسرحية حنيف قريشي التخم . إنه يجسد المجتمع المتعدد الثقافات في
بريطانية في فترة الثمانينات من القرن الماضي من وجهة نظر البريطانيين و الأقليات,
تحديداً المهاجرين الباكستانيين و الذين يمثلون مهاجرين من الجيل الأول و الثاني. يبين
قريشي
المصاعب التي تواجهها هذه المجموعة الإثنية و رد فعل أفرادها على هذه
المشاكل.
Usually, it's hard to reach the final color identity with normal teeth when using
full glass ceramic, but this matter is very important for the cosmetic successful of these restorations. This
in vitro study evaluated the effect of cement color on the final color of full crown glass ceramic of system
IPS e.max.
Saadalla Wannous is considered from the most important seekers for new technical
forms in the Arabic Theatre. This appears through his plays that bear a collection of
modern technical constituents. His early plays had technical structures that gave
them
technical and intellectual dimensions. The plays of the nineties were qualified with new
tincture in both the structure and the meaning. From the technical constituents that formed
this phase in writing the scripts is the narration technique that Wannous entered as a major
structure in his drama, one of which is (Yawm Min Zamanina)
(A Day from our Time) , in which he used diverse narrative techniquesto contributed
in the production of the indicatives and signs and achieved a dramatic integration in the
Play building up.
Saadalla Wannous had no embarrassment in expressing the individual tendencies and
inclinations which he used to consider bourgeoisie matters. He started to feel with a kind of
freedom , which he always believed in, which was the substantial conditi
on for the
realization of the Stage efficiency, and which he missed in his previous creativities.
Previously, he used to impose on himself self-censorship which obliged him to overpass
what is personal and individual. That is why we see him in his Play (Tokous Alisharat Wa
Altahawolat) (Rites of Signs and Conversions) moves from the general condition to the
individual structure within the context of the community. He strictly refers in this Play to
the concept of the individual freedom through the psychological structure and subduing the
will potential in the human self. Thus, he made his characters express their inner selves far
from the social preaching, that lead towards their fate.
This study tries to know the rate of the deficiency of vitamin D experienced by Lattakian women as well as its accompanying diseases. It is conducted at a specific clinic in Lattakia in the period (2012-2013).
The study included a sample of 127 w
omen randomly chosen. It depended on laboratory results of the levels of vitamin D: normal rate, moderate deficiency, acute deficiency. It also depended on age group: Group1(20-50 years old): Group 2: (more than50 years old).
The study concludes that the rate levels are as follows: very high (84.26%), normal (15.74%), moderate deficiency (55.15)%, and acute deficiency (44.85%).
Symptoms based on age were as follows:
Group 1: clinical symptoms were more visible than diseases. The clinical symptoms were: 1-the muscular vatic (93.70%); 2 anxiety and depression (77.05%). Diseases were: 1-thyroied failure (12.5%), 2-hypertesion(6.25%).
Group 2: Diseases were more visible: The clinical symptoms were :1-anxiety (85.18%), 2-the muscular vatic (74.07%). Diseases were :1-cardiovasculardiseases (44.44%), 2-hypertension(37,03%).
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