Subtitling is a challenging task making subtitlers use precise strategies to improve the quality of the subtitles. This paper aims at identifying the subtitling strategies employed in subtitling the culture-bound terms in the Jordanian movie entitled “Theeb” and assessing the translation of such culture-bound terms. The dialect used in this movie is the Bedouin Jordanian Arabic. So, the translator faced two dilemmas: (1) Understanding the Bedouin Jordanian-Arabic dialect and understanding the dimensions and features of this distinguished culture. (2) Translating this work, which is loaded with cultural expressions, into English. Furthermore, the study deals with the issue of overcoming the difficulties faced by translation of Arabic-language audiovisual dialogues into English. To achieve the purpose of this study, the data was collected from the movie "Theeb" and then analyzed. The results show that not all the subtitling strategies were used. Those left unused were dislocation, condensation, decimation, and resignation strategies. Hence, this article critically evaluates this subtitling, exposing pitfalls and offering more efficient renderings in a practical context.

This article looks into the postcolonial Arabic narrative of Ghassan Kanafani to examine its underplayed existential and naturalistic aspects. Postcolonial texts (and their exegeses) deal with the effects of colonization/imperialism. They are expected to be political and are judged accordingly. Drawing on Kanafani's Men in the Sun (1963), I argue that the intersection among existentialism and naturalism, on the one hand, and postcolonialism, on the other, intensifies the political relevance of the latter theory and better establishes the politically committed nature of Kanafani's fiction of resistance. In the novella, the sun and the desert are a pivotal existential symbol juxtaposed against the despicable life led by three Palestinian refugees. The gruesome death we encounter testifies to the absurdity of life after attempts at self-definition through making choices. The gritty existence characteristic of Kanafani's work makes his representation of the lives of alienated characters more accurate and more visceral. Kanafani uses philosophical and sociological theories to augment the political nature of his protest fiction, one acting within postcolonial parameters of dispossession to object to different forms of imperialism and diaspora. Therefore, this article explores how global critical frameworks (naturalism and existentialism) enrich the localized contexts essential to any study of postcolonial literature and equally move the traditional national allegory of Kanafani to a more realist/unidealistic level of political indictment against oppression.

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This essay considers anti-heroism as a response to modern man’s uncertainties about traditional values and as a feature of modernity’s zeitgeist. Modern anti-heroism captures the sensibility associated with modernism, with its attempts at cultural renewal, and it ranges between the low mimetic and the ironic mode.

This paper looks at the problematic of the body in Coetzee's novel Disgrace. It argues that the novel's protagonist is initially driven by eros, impulsive sexual desires beyond his control. However, Lurie's conception of the body changes in the course of the novel from one dominated by eros to an ethical one associated with (dis)honor and (dis)grace. Rather than a self-centered eros, Lurie's new awareness of the body is one based on our essential embodiment and the humiliations of dying and ageing. This is why his new understanding of the body, which is the result of a change in his personality, makes him care about the body of the other. Lurie spends much time trying to "honor" the bodies of dead dogs or simply spare them from the disgrace of dying. My reading of the novel explores an ethical conception of the body in Coetzee's novel. Already a contested political site, the body in Coetzee's novel emerges as an ethically (and psychoanalytically) nuanced one.