Representations of racial superiority in contemporary formation

Abstract

Abstract:

 Societies are characterized by a remarkable diversity of races, genders, and colors. Therefore, the tendency of racial superiority was very clear among different environments, and here we must shed light to understand the reason for this idea or tendency and explain it in order to try to reach logical solutions and limit differentiation or differentiation, or at least understand it according to basic principles. A well-studied social scientific study, this study included four chapters, the first of which is the methodological framework, starting with the research problem by asking: What are the representations of racial superiority in contemporary formation?

The importance of the research lies in that it represents a serious attempt to identify the concept of racial superiority in their productions.

The research aims to identify the representations of the concept of racial superiority in contemporary art. The limits of the research are represented by the works completed by artists from (1961-2020 AD) and displayed in some countries of the world. As for identifying the terms that have been identified and defined procedurally, which are: (racial superiority). As for the second chapter, it may include three researchers: The first topic suits the philosophical and cognitive award of racial theory. The second topic is the difference between the concept of racial superiority and racial superiority. The third topic is the racial concept and its implications for artistic formation. All indicators have been completed, including the theoretical framework as a famous subject known in it, so she chose it and the method of her research. In careful analysis, if she chooses this method to suit her procedural stages of analysis. The third section dealt with the concept of racial superiority and its repercussions on plastic art. The fourth section dealt with the difference between the concept of racial superiority and racism, after which The indicators that resulted from the theoretical framework were extracted as a scientific material that benefited from its boldness and research method in analyzing the content of the samples, as the researcher chose this method to suit its procedural stages in the analysis.

This is what was discussed in the third chapter, which is the chapter on research procedures, as the unit of analysis was determined and represented in considering each artistic product (a unit of analysis), that is, an integrated unit of communication because it carries an integrated idea from which ideas can be derived through analysis, and in this way the researcher has a model of analysis. (Sample) out of the total research population.

The fourth chapter includes the results, conclusions, recommendations, and proposals

One of the most important results reached by the research objective.

1- Racial superiority is represented in the works of artists in a way that is compatible with the intellectual and aesthetic developments of the new reality within intellectual concepts that clarify the human relationship with the other, through artistic/aesthetic discourse, and by employing materials, symbols and interpretive readings that are compatible in their data with human culture, in order to achieve objectivity and intervention. Within the context of social cultures.Among the conclusions he reached:

1- The artists practiced the process of rejecting racial superiority through resemblance and conformity to existing things, and intuited an intellectual effort that penetrates the emotional obsession of the free self and arrives at new laws and relationships that give the work the value and message of its unique, special existence.

The research concluded with a review of the research sources, its appendices, and a summary of the research in English.

Keywords: superiority, ethnicity