Shifting to a Sustainable Dietary Pattern in Iranian Population: Current Evidence and Future Directions

The need for a shift in diet toward a more sustainable one has reached an urgency in certain regions, including Iran, due to more rapid climate change and a higher level of vulnerability. This study was undertaken to identify and summarize available data on changes required in the current Iranian diet to make it more sustainable and the extent to which current policies in the country have addressed such a shift. In this study, PubMed, Scopus, and Web of science, as well as Iranian scientific search engines, including Scientific Information Database and Magiran, were systematically searched from January 1990 to July 2021. A total of 11 studies and policy analyses were included in this study. Based on the findings, moving Iranian diet toward sustainability will require increase in consumption of dairy, fruits, vegetables, cereals, poultry, and legumes and decrease in consumption of bread, rice, pasta, red meat, eggs, fats, sugars, and sweets. There has been a great deal of effort and investment on policies and strategies to decrease the amount of sugar, salt, and fat (specifically trans-fatty acids) in the Iranian diet, which makes it more sustainable healthwise. Several policies and programs have been implemented to tackle non-communicable diseases (NCDs) by reducing access to unhealthy foods, which is in line with health dimension of a sustainable diet. However, there is almost no direct address to ecological aspect of sustainable diet in the food and nutrition policy documents in the ccountry. Development of an enabling environment to a sustainable diet will require policy and actions to improve public awareness, support study to provide evidence and identify possible alternatives, and plan and implement interventions/programs to promote and facilitate healthy and sustainable diets.

The Iraqw society reflected in their language

A close inspection of the anthropological literature on Iraqw (Cushitic, Tanzania) reveals that central properties in their culture include the relative importance of social relations and hence community over kinship relations, the relevance of relative rather than absolute time, the centrality of space in culture and the importance of ritual cleansiness. The paper investigates to what extend the Iraqw language reflects this. Language being a social construct is expected to reflect social structure over time, both in lexicon and in grammar. Indeed the Iraqw language reflects their social structure in a number of way. Their verbal art emphasizes the need for peace in the community and is strongly communal in performance. This is evident, for example, in the rituals for lifting a curse. The centrality of community is reflected in various part of the lexicon. expression for pride being one of them, or the factor of companionship in possession. It is also grammaticalised in an extension of the function of the impersonal subject pronoun to express actions done together. Iraqw mythology and tales never attempt to indicate a point on time and only report chronology of event. This conceptualisation of time is reflected in the absence of lexical elements for absolute time and the abstract notion time. Furthermore the language forces specification of gender in any direct address: the second person pronoun is gender specified, kinship terms used for address are all gender specified as is the interjection for attention. Iraqw shows signs for a disappearing in-law respect register.

Active Learning Discourse: Specifics of Construction (Illustrated by Academic Discourse in English)

This article dwells on the construction of active learning discourse. The material is comprised of six videos in English, which demonstrate how the active learning format can be applied to a university lecture. These videos were chosen due to their popularity on YouTube and because they present fragments of real university classes accompanied by lecturers’ explanations. The discourse analysis applied found a correlation between lecturers’ linguistic choices and their communicative aim. In addition, the methods of systematization and classification were used. Prior to the analysis, all the videos were transcribed. As a result of the research, typical features of active learning discourse were identified and communicative means of its construction were determined. It was established that this type of discourse can be described as academic and institutional. Frequent use of means of dialogicity and high level of emotionality are among its distinctive features. The study found that when constructing the discourse of active learning, lecturers use factual information, questions, direct address to the audience, repetitions, as well as discourse markers of encouragement and solidarity. As this type of discourse is aimed at motivating students to actively participate in the process of learning, а conclusion is made that active learning discourse can also be described as motivational.

Expressive Exclamation Constructions in the Position of an Online Newspaper Headline (on the Material of Russian, Chuvash and English Languages)

Ths article is aimed at identifying and comparing the syntactic models of expressive exclamation constructions in the headlines of the online versions of high-quality printed publications: the Vedomosti and the Izvestia (in Russian), the Khypar (in Chuvash), Th Times and Th Guardian (in English). Th research material is online newspaper headlines published in the period from 2017 to 2021. Th relevance of the work is explained by the fact that in the mass consumption of information on the Internet the title has the greatest potential for speech impact on the mass audience, realized by means of expressive syntax and punctuation. Th expressive exclamation structure of the online newspaper headline enhances its expressiveness, translates the author’s intentions, conveys the author’s emotions, forms opinions and encourages readers to act, etc. Depending on the type of speech inflence, the patterns of syntactic design of heading syntactic design in Russian, Chuvash and English are analyzed on the basis of speech influence (social, volitional, informational, explanatory, or emotional-evaluative). For instance, Russian headings of requests, orders and slogans are formed as an elliptical non-verbal construction, a sentence with a verb in the imperative mood and an appeal to a certain person, as well as a construction consisting of homogeneous predicates in the imperative mood. Chuvash headlines of requests, demands and slogans, and the titles that convey various emotions are represented by an exclamation construction with a verb in the imperative mood and a direct address, with a verb in the imperative mood and a negative particle, an indefiite personal sentence, elliptical and parcelled constructions. Expressive exclamation headings in English are based on two-part and segmented syntactic structures. Thse strategies for the design of expressive exclamation constructions in online newspaper headlines reflct the development of syntactic systems of the languages with diffrent structures and make a certain contribution to the development of theoretical foundations of comparative media stylistics.

Pontormo and the Art of Devotion in Renaissance Italy

Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.

ASMR explained: Role play videos as a form of touching with the eyes and the ears

In this paper, I introduce and discuss technologically-mediated ASMR (Autonomous Sensory Meridian Response) in the form of role play videos. I suggest using haptic audio-visuality as a theoretical elaboration to describe a form of touching with the eyes and the ears through interpersonal triggers, direct address and directional touching. And I present ASMR role play videos as a category that can be viewed as both a shared pleasure and a personal experience. Despite its mediated — body-to-screen rather than body-to-body — and one-way format, research suggests that ASMR can be regarded as an intimate, present and interpersonal experience. ASMR has succeeded in integrating the viewer-listeners’ physical reality with virtuality and creating a perception of presence. What is missing, however, is a more in-depth exploration of how this perception of presence is created through the performative construction of a particular kind of attuned, imaginative and interactive viewer-listener within ASMR role play videos. This is what I intend to explore in this paper.

Recursive Reflections

This chapter casts a critical eye on various classifications of reflexivity that have been proposed by film and media scholars over a number of decades. These center on the reflexive content of films, their self-referential communicative structures and functions, and intended effects of reflexiveness on spectators. In this context it differentiates between (self-)reflexivity and related terms/concepts—metafiction; metacinema, mise en abîme, allusion and intertextuality, self-conscious style and narration—from a twenty-first century standpoint; and outlines an alternative classification of reflexive forms in celluloid and digital cinema. The latter are distinct from specific reflexive devices (e.g., the film within the film, direct address, display of the cinematographic “apparatus”) and general modes (e.g., political, formal, ludic). As illustrated through concrete examples, the five transmedial forms posited—environmental; trans-art and intermedial; generic; creator-centered; performance-based—typically occur in complex combinations. Their identification, and the new conception of cinematic reflexivity this typology represents, aids in the analysis and interpretation of reflexive and metacinematic films and styles.

Polydimensional Structure and Psychosocial Functions of the Direct Address in TV Series

Traditionally, in media studies research, the direct address or aside, i.e., a construction in which a speaker communicates a message directly to the audience breaking the continuity of the narrative flow, has been investigated mainly for its dramaturgical function. The present study aims to consider the direct address as a research object of the social psychology of communication to increase our understanding of this technique by going beyond the analysis of its dramaturgical function. In particular, the direct address will be examined through an integrated approach based on argumentative and conversational tools to highlight its less known polydimensional structure, i.e., diegetic and extra-diegetic dimensions and their interactions, and psychosocial functions, i.e., connecting the characters among each other within the show as well as with the audience. This objective will be achieved by analyzing two different direct addresses from the American TV series House of Cards. The analysis showed that the direct address performs its dramaturgical function by impacting both diegetic and extradiegetic levels. In the first case, as considered in previous studies, these plans are activated in parallel, aiming to build what we have defined as the “strategic subjectivity” of the character who employs this technique. Instead, in the second case—which comprises two direct addresses produced by two different characters—this technique involves the creation of what we will call “platforms of intersubjectivity.” In this occurrence, the dramaturgical action establishes a “bridge” between the diegetic and extradiegetic plans that act synergistically. In conclusion, the present study shows how an integrated approach based on argumentative and conversational tools of analysis permits to enlarge the traditional media studies perspective, highlighting the less investigated polydimensional structure and analyzing the psychosocial functions of the direct address, here considered as a research object of the social psychology of communication examined in its diegetic and extra-diegetic dimensions. The integration of the pragma-dialectical approach to argumentation with the interlocutory logic theory has brought to light a new modality of use of the direct address that can be termed “intersubjective aside,” a type of aside that can be added to the three already known, i.e., aside ad spectatores, monological aside, and dialogical aside.

Do worlds have (fourth) walls? A Text World Theory approach to direct address in Fleabag

This article examines direct address, or ‘breaking the fourth wall’, in the BBC TV series Fleabag. It applies Text World Theory to telecinematic discourse for the first time and, in doing so, contributes to developing cognitive approaches in the field of telecinematic stylistics. Text World Theory, originally a cognitive linguistic discourse processing framework, is used to examine how multimodal cues contribute to the creation of imagined worlds. We examine three examples of direct address in Fleabag, featuring actor gaze alongside use of the second-person you or actor gaze alone . Our analysis highlights the need to account for the different deictic referents of you, with the pronoun able to refer intra- and extradiegetically. We also explore viewers’ ontological positioning because ‘breaking the fourth wall’ in telecinematic discourse evokes an addressee who is not spatiotemporally co-present with the text-world character. We therefore propose the concept of the split text-world, which assists in accounting for the deictic pull that viewers may feel during direct address and its experiential impact. Our analysis suggests that telecinematic direct address is necessarily world-forming but can ontologically position the viewer differently in different narrative contexts. While some instances of direct address in Fleabag position the viewer as Fleabag’s narratee and confidant, there is increasing play with direct address in the show’s second series and a destabilisation of this narratee role, achieved through the suggestion that Fleabag’s addressee may be more psychologically interior than they first appear.

The stylistic status of the Direct Address in the book of “Genesis”

“Genesis” is the first book of the Torah, the oldest religious material of the Jews.The book of Genesis describes the creation of the first man and the ancestors of the nation of Israel. At the same time, this book gives us information about the structure and characteristics of the ancient Hebrew language. Direct Address plays an important role in communication. Addresses are used at the beginning, middle and end of a sentence, however there is no difference in meaning. This article is given the types of direct adress in the book, the content of their stylistic qualities. There have also been explained the issues of homogeneity and stylistic repetition of Addresses. Key words: genesis, adresses, old hebrew, stylistic-expressive functions