Ali Salami

Background and Objectives: Spiritual coping strategies of patients are influenced by their mood/anxiety symptoms and emotional schemas. Therefore, the present study aimed to develop a conceptual model of spiritual coping in patients with chronic back pain, considering the role of mood/anxiety symptoms and emotional schemas. Methods: The research method was descriptive correlational. The statistical population included all women and men 25 to 55 years old with chronic back pain referring to the orthopedic and neurology clinics of Torbat Heydarieh City, Iran, in 2021-2022, of whom 400 people were selected considering the inclusion criteria using the convenience method. The tools used were the mood and anxiety symptoms questionnaire (MASQ-D30), a brief version of the Leahy emotional schema scale II-(LESS II), and the religious coping scale. The data were analyzed by structural equation modeling by SPSS software, version 24 and LISREL software, version 8.8. Results: The fitted model showed a direct relationship between mood/anxiety symptoms and emotional schemas (β=0.740), an inverse relationship between mood/anxiety symptoms and spiritual coping (β=-0.480) at the significant level of 0.05, and an indirect relationship between mood/anxiety symptoms and spiritual coping through emotional schemas (β=-0.488), which was significant at the 0.05 level. Conclusion: The results of the study supported the mediating role of emotional schemas in the relationship between mood/anxiety symptoms and spiritual coping strategies of patients with chronic back pain. Therefore, developing therapeutic interventions to reduce emotional schemas and improve spiritual coping strategies along with medical treatments is useful in adapting and improving chronic pain sufferers.

This article explores the contradictory nature of the ghost in Hamlet and shows how Shakespeare seeks to manipulate the reader’s response in Hamlet by using contradictions and ambiguities. The article also explores the ways in which the reader responds to these contradictions and reconstructs a palpable world in the impalpable world of the text. These contradictions compel the reader to participate in the composition of the text and make him keep changing his own approach to the work with the result that the more he reads the play, the deeper he finds himself entrenched in contradictions. As he fails to grasp the logic of events, the reader relates his own world to the text instead of relating the events of the text to his world and recreates his own world. Therefore, he can easily detach himself from the text and let his imagination run loose as the play proves too vague for him to comprehend. In reading Hamlet, the imagination runs wild and travels far beyond the text to an extent where the reader perceives things, which stand not within but utterly outside the text. Eventually, the reality achieved by the reader in the course of reading the play is only the reality which dwells in the innermost recesses of his mind.

This article examines the influence of the Persian mystic poet Hafi z on western poets. Interest in Hafiz started in England in the eighteenth century with the translations of Sir William Jones. In the nineteenth century, the German translation of Baron von HammerPurgstall inspired Goethe to create his masterpiece Westöstliche Divan (West-Eastern Divan). The poetry of Hafiz evoked such passion in Goethe that he referred to him as ‘Saint Hafiz’ and ‘Celestial Friend’. Inspired by Westöstliche Divan, a number of German poets including Rückert and Platen composed volumes of poetry on the model of ghazal, the popular poetic form perfected by Hafi z in Persian literature. Prominent among the German thinkers influenced and fascinated by Hafiz was Friedrich Nietzsche who repeatedly mentioned him in his works. The influence of Hafiz stretched to America in 1838 when Ralph Waldo Emerson read Goethe’s West-Eastern Divan. In Hafiz, Emerson found a man who derived pleasure in the very elements which others found mean. Under the influence of Hafiz’s Saki-nameh or the Book of Wine, he created his finest poem Bacchus which, according to Harold Bloom, set the terms for the dialectic of American poetry.

Background. Ethics are rules or standards governing the conduct of a person or members of a profession. Medical research must be regulated to ensure that fundamental human rights are not breached in the quest for knowledge. Nigeria had no laws or specific guidelines to regulate health research until 2007, when a national regulatory body, the National Health Research Ethics Committee, was established. Its function is to ensure ethical conduct in research and to accredit institutional and state health research ethics committees.Objective. To document the current role of HRECs in the ethical practice of health research in Nigeria, 4 years after the establishment of the NHREC.Methods. Functioning of the HRECs was evaluated via interviews of 14 members of state and institutional HRECs chosen from selected geopolitical zones of the country.Results. The HRECs surveyed had between nine and 15 members, with more males than females. Review meetings were held only occasionally owing to the competing interests of members, who receive no incentives for participation, and poor funding. Scientific and ethical reviews are conducted together by the same committee, but few members of the HRECs are trained in research ethics. Monitoring of research after approval is poor.Conclusion. Nigeria now has about 30 institutional HRECs, but their functioning is hampered by a shortage of both money and qualified individuals to serve on them.

The sixteenth-century Cossacks became the favourite topic of Ukrainian authors of the nineteenth century who dealt with national and individual identity issues. Nikolai Gogol, the celebrated Russian author who had Ukrainian origin and was born in a Cossack village, wrote the epic romance of Taras Bulba, which narrated the story of Cossacks and their struggle for preserving their independence. While the work has been previously studied under the light of postcolonial theoretical framework, using the concepts developed by Homi Bhabha to scrutinize the situation and the destiny of the two main hybrid characters, Taras Bulba’s sons, takes a step further and reveals the deeply ingrained anxiety and ambivalence in the Cossack mentality. The article focuses on the two main hybrid characters who choose divergent paths upon encountering the conflict brought to them by the imperial power.

Born in 1315, Shamseddin Mohammad, known as Hafiz, grew up in the city of Shiraz where he studied the Qur’anic sciences. In his youth he learned the Quran rigorously and assumed the epithet ‘Hafiz’ which means the one who knows the Quran by heart. Also known as the ‘Tongue of the Hidden’ and the ‘Interpreter of Secrets’, Hafiz utilizes grand religious ideas and mingles them with Sufistic teachings, thereby creating a kind of poetry which baffles interpretation. The poetry of Hafiz has intoxicated and continues to intoxicate many in the world. The exhilarating effect of his poetry was also known to the poet himself. In one of his poems, he says that the angels are memorizing his poems in heaven and that Venus is enraptured and that Christ rjoices in his songs: “What marvel that in heaven are sung/ The dulcet words by HAFIZ strung?/Or that, by Venus’s air entranced,/Messiah in his sphere has danced?” As Friedrich Nietzsche has said of Hafiz: “Bist aller Trunkenen Trunkenheit/ wozu, wozu dir-Wein? (the intoxication of all intoication you are/what need do you have to ask for wine?)”

Chinua Achebe, the Nigerian novelist, is one of the outstanding figures in modern African literature whose works can be taken as early attempts in literature to move toward de-colonization. Achebe provides an alternative discourse which can depict not only an authentic picture of the native African life with all its complexity, but also dynamic native characters in such a context: real-life black characters with humane existential conflicts who can contemplate on what has been affecting their African pre-colonial identity. What makes Achebe’s novels different from other novels is the way he relies on the notions of ‘Otherness’ and ‘hybridity’ in constructing his alternative non-Eurocentric discourse. This book studies four novels by Chinua Achebe i.e. Things Fall Apart, No Longer at Ease, Arrow of God, and A Man of People, so as to investigate how he has constructed his alternative discourse; a discourse which has been successful in providing a room where the colonized are given voices to speak and the reader has a chance to understand better their world and what they have confronted because of colonization. Since each novel focuses on a different colonial or postcolonial phase in Nigeria and Achebe has made use of different discursive strategies in each of them, it can be claimed that taking them as a tetralogy and studying them together can result in providing a vivid picture of Achebe’s discourse and what his novels seek to mirror about the Nigerian hybrid identity and the colonized man’s struggles in the way of dealing with ‘otherness’ and difference.

With the advent of the 21st century, the way characters and identities interact under the influence of dominant powers has brought a new world into existence, a world dubbed by Manuel Castells as the ‘Fourth World’. Within the Castellsian theoretical matrix of the Fourth World and politics of identity, the present study seeks to investigate the true nature of the futuristic world Margaret Atwood has created in the MaddAddam trilogy. The trilogy literarily reflects a global crisis that ultimately leads to dystopia and the destruction of the human race: what remains of humanity is a small group of survivors who must struggle to conserve what remains of humanity. Identity as the main determining factor in the Fourth World represents personal and public privileges, characteristics, and means of differentiating oneself from others. The Fourth World and its political peculiarities reflect contemporary powers, i.e. the power of the network society, network communication and media. Humankind, in this wheel, is just a toy in the hands of an intelligence broker. What exactly happens to human and semi-human characters in Atwood’s trilogy is the result of Fourth World structures and values, and how they shape and reconstruct identities to lead the world toward fabricated truths and values, and terminate in dystopia.

Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.

With the realization of the promised global village, media, particularly online newspapers, play a significant role in delivering news to the world. However, such means of news circulation can propagate different ideologies in line with the dominant power. This, coupled with the emergence of so-called Islamic terrorist groups, has turned the focus largely on Islam and Muslims. This study attempts to shed light on the image of Islam being portrayed in Western societies through a Critical Discourse Analysis approach. To this end, a number of headlines about Islam or Muslims have been randomly culled from three leading newspapers in Western print media namely The Guardian, The Independent and The New York Times. This study utilizes “ideological square” notion of Van Dijk characterized by “positive presentation” of selves and “negative presentation” of others alongside his socio-cognitive approach. Moreover, this study will take the linguistic discourses introduced by Van Leeuwen regarding “representing social actors and social practices” into consideration. The findings can be employed to unravel the mystery behind the concept of “Islamophobia” in Western societies. Besides, it can reveal how specific lexical items, as well as grammatical structures are being employed by Western media to distort the notion of impartiality.

his study explores Pynchon’s mammoth novel, Against the Day, in terms of the minor practice of language as proposed by Deleuze and Guattari in their book Kafka: Toward a Minor Literature, which opens up new possibilities for literary criticism. With his idiosyncratic, intensive, and inventive practice of language, Pynchon shatters the already existing notions of appropriate and homogenizing forms of major language. The novel demystifies the language’s institutionalized system of signification and defies identifiable decipherable meaning in many ways, such as covert and overt deterritorialization of language, escape from “territorial” and “representational” language, defiance of signification, neutralization of sense, asyntactical language, phantasmagorical and absurd tales, quizzical jokes, silly songs, and asubjective free indirect narration. Against the Day’s practice of language prefers the territory of asubjective insignification to subjective, symbolic, and signifying usage of language so as to dismantle the territory of representation; thus, it pushes the major language towards or even out of its limits.

Abstract: The present paper investigates the empowering force of hybridity in female diasporant in Bharati Mukherjee’s outstanding novel Jasmine. The novel depicts Jasmine’s journey of transformation from a passive, traditional girl at the mercy of fate in a village in India to an active, modern, and most importantly cross-cultural hybrid woman in America. All through the novel, her identity is transformed in line with shifts in her name from Jyoti to Jasmine to Jazzy to Jane. Accordingly, she stands in-between two cultures, shuttles between identities, welds opposing identities, enters the third space and emerges as a hybrid. The present study in the light of Homi Bhabha's insights seeks to demonstrate that immigrating, experiencing displacement and in-betweenness, and being positioned in the third space pave the way for Jasmine’s becoming a hybrid and being liberated. Besides, the study is to depict by creating a hybrid character, Bharati Mukherjee, the author, alludes to her own very hybridity.

In Against the Day, Pynchon is obsessed with twoness, double worlds, as well as dual realities, and like Deleuze’s concept of repetition, these duplications and twinships are not merely repetition of the same, rather they allow for creativity, reinvention, and becoming. Pynchon’s duplication of fictional and spectral characters intends to critique the notion of identity as does Deleuzian concept of repetition. Not attached to the representational concept of identity as the recurrence of the same, Pynchon’s duplications decenter the transcendental concept in favor of a perpetual becoming and reproduces difference and singularity. Like Deleuze, Pynchon eschews an identity that is always guaranteed, and shows that the repetition of an object or a subject is not the recurrence of the original self-identical object or person. Moreover, Iceland spar, the mystifying calcite, with its doubling effect provides the reader with a view of a world beyond the ordinary, actual world, which is quite similar to what Pynchon’s novel does per se.

It might sound rather convincing to assume that we owe the pleasure of reading the novel form to our elemental repository of physical perception, to our feelings. This would be true only if mere feelings could add up to something more than just emotions, to some deep understanding of the human. After all, a moment of epiphany, where we begin to realize things that dramatically disturb our normal state of mind, is not just emotional, nor indeed a simple moment. Despite its root in the corporeal, a mo(ve)ment of affective realization reaches beyond the realm of the human and opens up the plane of virtual potentials. In this work, we intend to map out the points and relations of affective singularity that pervade the narrative of Toni Morrison’s Sula (1973). Also, we will discuss how these mo(ve)ments of sensation give form to Sula’s and Nel’s experiences and contribute to an affective transformation in morality and friendship.

Chinua Achebe, the contemporary Nigerian novelist, is considered as one of the prominent figures in African anti-colonial literature. What makes his works specific is the way he approaches the issues of colonization of Africa in an objective manner and through an innovative language which aims at providing a pathology; a pathological reading meant to draw on the pre-colonial and colonial history without any presumptions so as to present the readers with possible alternative African discourses in future. His first novel Things Fall Apart can be taken as the best representative of such a penchant in Achebe. The present study seeks to approach Things Fall apart by reflecting on those discursive features which have provided the ground for constructing such a pathological reading and an alternative to the colonial discourse. To this end, some key terms introduced by Homi Bhabha and Mikhail Bakhtin such as ‘hybridity’, ‘otherness’ and ‘polyphony’, constitute the cornerstone of this study. Presumably, such an innovative reading of Achebe’s Things Fall Apart is to lead to a better understanding of his discourse and the efforts made by him to help the African readers figure out how to piece together what once fell apart; what they can rely on for building an independent future in the so-called postcolonial era.

Most readings of Tayib Salih’s Season of Migration to the North have focused on Mustafa Saeed and the nameless narrator, both male characters, and they have largely avoided a politically radical reading of the novel. This article attempts to present the female character, Hosna, as the revolutionary par excellence, following Lacan and Slavoj Žižek’s reading of Antigone. Th rough Žižek’s distinction between the act and action, this article argues that Hosna’s deed at the end of the novel, murder and suicide, is not just an action out of hopelessness but rather an act that aims to make a new social order possible. We will try to connect Žižek’s distinction between act and action to Benjamin’s distinction between divine violence and mythic violence and Lacan’s idea of “Th ing-directed desire” (Marc De Kesel 245). By doing so, this article aims to put the extreme violence of Hosna in a new light and argues against the readings that simply ignore her act as an extreme form of violence and fail to see it in a broader framework of philosophical and sociological understanding.

This research investigates the representations of gendered social actors within the subversionary discourse of equal educational opportunities for males and females in Iranian English as a Foreign Language (EFL) books. Using critical discourse analysis (CDA) as the theoretical framework, the authors blend van Leeuwen’s (Texts and practices: Readings in critical discourse analysis, Routledge, London, 2003) ‘Social Actor Network Model’ and Sunderland’s (Gendered discourses, Palgrave Macmillan, Hampshire, 2004) ‘Gendered Discourses Model’ in order to examine the depictions of male and female social actors within this gendered discourse. The gendered discourse of equal opportunities was buttressed by such representations within a tight perspective in proportion to gender ideologies prevailing in Iran. Resorting to CDA, we can claim that resistance against such gendered discourse in Iranian EFL textbooks militates against such gender norms. These representations of male and female social actors in school books are indicative of an all-encompassing education, reinforcing that the discourse of equal opportunities is yet to be realized in the education system of Iran.

This paper investigates the interaction of gender, disability and education in rural Iran, which is a relatively unexplored field of research. The responses of 10 female students with disabilities from Isfahan indicated that the obstacles they faced included marginalization, difficulties in getting from home to school, difficulties within the school building itself, and discrimination by teachers, classmates and school authorities. The data collected for the study contain a wide range of conservative gendered discourses, and show how traditional gender beliefs interact with disability to aggravate the problems faced in education by young women with disabilities. It is hoped that the findings will raise awareness among policy-makers of the many formidable obstacles that make it difficult for young women with disabilities to achieve their full potential in education.

This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, and reshapes our thought in the process (Platt 8). As the text involves the reader in the formation of illusion and the simultaneous formation of the means whereby the illusion is punctured, “reading reflects the process by which we gain experience. Once the reader is entangled, his own preconceptions are continually overtaken so that the text becomes his present while his own ideas fade into the past. As soon as it happens, he is open to the immediate experience of the text” (Iser, The Implied Reader 290). Mesmerised by Macbeth’s powerful imagination and poetic language, the reader engages in a dialogical interaction with the play and eventually finds light in the murky world of the text. Regardless of Macbeth’s diabolical world, the reader ventures into it, shares it with him and ultimately wakes up from its dizzying stupor. In reading Macbeth, the reader leaves behind the familiar world of his experience in order to participate in the adventure the text offers him. The edifying effect of the tragedy in the end is the reward the reader reaps after eventually waking up from the nightmarish dream of the text.

This study examines the representations of male and female social actors in selected Iranian EFL (English as a Foreign Language) textbooks. It is grounded in Critical Discourse Analysis and uses van Leeuwen’s Social Actor Network Model to analyze social actor representations in the gendered discourses of compulsory heterosexuality. Findings from the analysis show that the representations endorse the discourse of compulsory heterosexuality which is an institutionalized form of social practice in Iran. Three male and three female students were interviewed to find out what they think about these representations. Their responses with regard to whether they think textbooks should also include representations of other forms of sexuality were non-committal and vague. To them LGBT people are the ‘‘Other’’ practicing a form of sexuality that is not normal. Such exclusions could obscure the reality regarding the existence of such gender identities and represent the world in a particular manner.

This collection of essays offers a panoramic plethora of responses to Shakespeare by both Western and Eastern critics, indicating that the Bard crosses all nationalities and deserves to be defined as a global writer, which is why he is easily appreciated, manipulated, translated, adapted, and interpreted by everyone everywhere. Divided into three parts, this volume deals with a wide range of issues on culture and multiculturalism, and hammers home the idea that the works of Shakespeare can be not only universally understood, but also fully integrated into other cultures.