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Since the Enlightenment, philosophers warned against the self-effacing effects of conformity that reduce the individual to a sheepish pawn, herded by self-proclaimed figures of authority. This article explores the loss of identity linked to such dependence on the crowd, as illustrated in Don DeLillo's White Noise. It explains the potential reasons behind embracing the \"herd mentality\" and demonstrates the many strategies people adopt to seek the acceptance of the groups they affiliate with. From constructing a persona that dissimulates one's inadequacies to the replication of other's behavior, it follows characters who sacrifice their uniqueness for the comfort of collectivism. Finally, the article shows how easily the crowd-dependent individual surrenders his own judgement and reverts to an infantile reliance on others.

The role of the father has always been that of the breadwinner of the family in most of the American novels. Little was mentioned about his involvement in his familial duties and his relationship with his children. This created a gap between the father and his children and turned him into a far-fetched person for them. Anne Tyler (1941-), a southern female writer presents a new image of fathers. She highlights the role of the father within the family and gives an insight to the way fathers think. This paper deals with Tyler's novel Saint Maybe (1991), exploring the character of Ian Bedloe, an unmarried person whose mistake leads him to lose his only brother, Danny. He suffers for his mistake and tries to make up for it by taking care of his brother's children offering a new image of fatherhood.

In The Confidence-Man: His Masquerade (1857), Herman Melville, grounding his work deeply in the American experience, problematises the inter-relation between charity (a metonymy for religion) and business (a signifier for capitalism) through this question that reveals an oxymoron: \"Then you have not always been in the charity business?\" Physical and verbal interactions of characters in The Confidence Man: His Masquerade occur on board of the steamboat Fidèle where almsgivers meet with charity seekers, the Confidence Man preaches confidence to either catch off guard the incredulous or exploit the empathy of credulous Christians, and his different masquerades transform the ship into a \"floating theatre\" engaging all passengers in a role play (Ronan Ludot- Vlasak 2003, 333). Therefore, concerning the tricks that the Confidence Man plays on his victims, commerce best describes the situations when he proposes to sell his services as an herb-doctor (chapters 16 and 17) or offers an investment opportunity as he makes others believe they are conducting an actual business transaction with the President of Black Rapids Coal Company (chapters 9 and 10). On the other hand, exchange describes all interactions involving benevolence, geniality or charity. For instance, the \"plump and pleasant person\" who exchanges twenty dollars with the Confidence Man for the satisfaction of a Christian-charity like contribution to the cause of the Widow and Orphan Asylum \"recently founded among the Seminoles\" (53). Through these interactions with the impostor, The Confidence-Man: His Masquerade criticises what the text calls \"the pitch-penny game\" (19) as hypocritical form of charity and also questions the notion of confidence based on physical appearance and artefacts like a transfer book. Confidence and charity constitute two major themes that the novel deals with by analysing social relations under three closely related categories: commerce, exchange and interaction. Is the Black Rapids Coal Company transfer book a metaphor for the Bible? Is charity a purely merciful action or does it hide an economic investment? Are not charity and business mutually exclusive? In the following analysis, the first part will explore how, in the American context, charity and business present a religious discourse and a Wall Street spirit that compete with each other. It will also reveal the hypocrisy of the charity game. If the lie is part and partial of the truth, looking for authenticity is a \"wild goose chase.\" And finally, the third part will consider the narrator as the Confidence Man par excellence.

The medical model of disability deeply influences people's reactions to disability by emphasizing the need for cure. Accordingly, normalizing disabled bodies, through cure, has been a key feature of most narratives addressing disability. The exclusionary practices of normative discourses hindered viewing disability as a bodily variation. This paper examines Rudolfo A. Anaya's deployment of disability in his novel Tortuga (1979). It explores the interplay between curandersimo and modern medicine as two interrelated curative discourses. The paper argues that because normalizing the body is a narrative end, Anaya falls short in his attempts to negotiate ableist ideals through curandersimo's holistic approach to healing. It argues that Anaya adopts an ableist ideological framework in his representation of disability through 1) emphasizing the need for a cure, 2) associating masculinity with the ability to walk, 3) the isolation of the hospital patients from society, and 4) an ambivalent attitude towards assisted suicide.

The September 11 attacks (also referred to as 9/11) marked a change observed in the world's focus on Islam and Arabs/Middle Easterners specifically. Post 9/11 fiction is highly characterized by Orientalist stereotyping. Islam is claimed to nurture terrorism, and promote bloodshed, and Arabs/Middle Eastern ersare called the\" terrorists\" who have been behind the attacks. As a result, a powerful massive and aggressive literary attack has been directed towards contemporary Arab and Muslim societies for their \"violence.\" In the light of Edward Said's Orientalism (1978), this article seeks to discuss three post 9/11 American literary works and highlight their writers' positive portrayal of the main Arab/Muslim characters, a portrayal which dismantles the strongly established stereotype of violence that post 9/11 fiction emphatically mirrors. These works are Lorrie Moore's A Gate at the Stairs (2009), Claire Messud's The Woman Upstairs (2013) and Lorraine Adams Harbor (2004). By exploiting these writers' portrayal of the protagonists of the novels and by referring to key novels in post 9/11 fiction which offer key features of the stereotype of violence, we aim at demonstrating that Lorrie Moore's A Gate at the stairs, Claire Messud's The Woman Upstairs and Lorraine Adams' Harbor challenge the stereotype of violent Arabs/Muslims spread in the aftermath of 9/11.

Idioms are structurally fixed expressions whose semantic content is both opaque and culture-bound. The culture-specific meanings of idiomatic expressions pose a challenge to translators. In translating idioms, translators need to be familiar with the two languages and cultures, work out the denotative meaning of the idioms and work out their illocutionary force. Adopting Nida's theory of equivalence (1964) , this paper explores translation equivalence in an Arabic translation of Salinger's novel The Catcher in the Rye. In particular, we examine the local procedures used to translate idiomatic expressions in the novel to investigate whether or not the translator maintains the core meaning and conveys the cultural and emotional overtones of the translated expressions. The selected idiomatic expressions have been identified based on Fernando's theory (1996) and classified following Nida and Taber's procedures (1969) under Nida's theory of equivalence (1964). Analysis reveals a preference for functional equivalence over formal equivalence in translating idioms, which has enabled the translator to maintain idiomaticity and reproduce the cultural connotations and pragmatic force of the ST idioms.

The main objective of this paper is to investigate the importance of gender performance to attain female survival in dystopian narratives through the protagonist of The Hunger Games Trilogy. This article first attempts to distinguish between sex and gender in addition to understanding the meaning of traditional gender roles. Moreover, it analyses the totalitarian aspects in the trilogy. Finally, Judith Butler's theory of Gender Performance is applied to understand Katniss' gender performance through the course of the trilogy.

تتمثل إشكالية هذا البحث في معاناة اللاجئين السوريين بوصفها قضية إنسانية معاصرة وملحة تستحق أن نلقي عليها المزيد من الضوء؛ إذ يفترض بمثل هذه القضايا أن تشغل الرأي العام العالمي والضمير الجمعي للبشرية؛ لذلك يهدف البحث إلى تتبعها في رواية أمريكية للكشف عن أبرز الدواعي القهرية التي أجبرت اللاجئين على الرحيل، فكان السبب الرئيس الحرب المشتعلة في بلدهم وما يتبعها من مآسي القتال والاعتقال، التدمير والتهجير، الحصار والتجويع والتركيع، الخطف والاغتصاب... ثم ظهور معاناة جديدة تمثلت في النبذ والمعاملة العنصرية في إحدى البلدان العربية التي لجؤوا إليها، ما اضطرهم إلى ركوب خطر البحر من أجل اللجوء إلى إحدى الدول الغربية أملا في الحصول على معاملة إنسانية تعوضهم عن معاناتهم، لكنهم غرقوا في وسط البحر، ونجا بعض من اعتمدت عليهم الكاتبة لتأليف الرواية. وقد انقسم البحث إلى ثلاثة مطالب: الأول يصور رحلة معاناة اللاجئين، والثاني: ارتأى ضرورة المقارنة بين مأساة غرق سفينة اللاجئين وغرق سفينة التايتنك لوجود بعض التقاطعات والمفارقات الجديرة بالذكر بين الحادثتين، والثالث: يعرض بعض التأملات الفنية في الرواية.

Racism in America has always been present since the inception of the colonial era. This is manifested in laws and practices, which segregate other groups based on their ethnicity. The concept of racism in America is majorly perpetrated in education, land acquisition, and legal matters. The minority groups such as African Americans have experienced determent in their social, and economic freedoms, which have seen them victimized in different arenas. The present article analyses and studies the changing motives of anti-racism that shaped James Baldwin's personality in his novel The Fire Next Time. James Baldwin is a great author. Though he was born in the ghetto of Harlem city during the preoccupation, he managed to struggle against the racial white supremacy in his black community.