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The main purpose of this essay is to investigate the role of becoming through political and social factors among the main character’s changing identity in Achebe’s No Longer at Ease. The researcher intends to depict the effects of political factors on the re-territorialization and territorialization of the main character through the framework of Deleuze’s theory. The current essay focuses on No Longer at Ease by Chinua Achebe to discover how becoming and transformation of identity take place throughout the novel and how the main character of the novel is going through constant change and becoming which are the result of different forces. Moreover, the researcher intends to investigate the character’s desires that result in the becoming process of identity deriving from social and capitalist factors in society. Since Deleuze and Guattari’s distinctive definition of literature investigates how minor literature is produced in the dominant narratives of major literature, it can critically assist the present research to discuss that Achebe prepares the ground for indigenous, anticolonial voices in his novel No Longer at Ease. It can be concluded that the main character of Achebe’s No Longer at Ease is in flux due to different forces, and his identity goes through constant becoming.

The researchers in the current study were pinpointing the factors contributing to teacher motivation. Among the myriad of variables which were deemed liable to influence teacher motivation, the researchers opted for teacher motivation, namely teacher burnout, self-efficacy, emotional intelligence, and teaching style as the main predictive variables for teacher motivation. To conduct the study, a total of 200 English language teachers were asked to fill the study questionnaires. The target group encompassed teachers from both public school and language school contexts. The teachers were from both genders and came from a variety of age groups, years of experience, and language backgrounds. The participants were recruited from 10 cities across West Azarbaijan. To facilitate the data collection process, the questionnaires were sent to participants via Google forms link. The obtained data were analyzed through SEM (Structural Equation Modeling) to find the exact interrelationships between the four variables considered as predictors and teacher motivation. The findings pointed toward the existence of significant paths from burnout, self-efficacy, emotional intelligence (EI), and teaching styles toward teaching motivation. Additionally, EI, self-efficacy, and teaching styles were depicted to be significant predictors for burnout. The path from EI to self-efficacy was also significant. Furthermore, teaching style was significantly predicted by EI and self-efficacy. Finally, the findings obtained via interview analysis demonstrated that teacher motivation can be influenced by a variety of factors including low income and lack of environmental/social support, which can, in turn, lead to increased levels of burnout and hence diminish teaching efficacy and hence motivation. The implications of the findings are discussed throughout the paper.

A bulk of research has revealed that emotions play a crucial role in different aspects of second/foreign language (L2) education. However, the emotions that English as a foreign language (EFL) students experience during assessment have been neglected, so far. Against this backdrop, this qualitative study intended to unveil the typologies, antecedents, and outcomes of assessment-related emotions of 24 Iranian EFL undergraduate students studying applied linguistics. To this end, a semi-structured interview and a narrative frame were employed. The results of the thematic analysis demonstrated that undergraduate EFL students experienced different positive and negative emotions before, during, and after assessment practices at the university. Furthermore, it was found that “teacher”, “tasks”, and “textbook” were the most frequent causes of the participants’ perceived emotions in assessment. Concerning the outcomes of assessment-induced emotions, the results demonstrated that “burnout”, “frustration”, “demotivation”, “stress”, and “self-doubt” were the most frequent negative outcomes, while “motivation”, “learning”, “pride”, and “excitement” were repeatedly posited as positive outcomes. Finally, the study enumerates some implications for L2 educators and researchers concerning the role of emotions in assessment processes and practices.

Hedging and boosting are significant communicative resources to construe and attain persuasion in different fields and particular genres of academic writing. Hedges allow the researcher to address possible problems, raise objections or anticipate opposition to the research claims while contributing something new to the ongoing dialogue in a research field. Boosters enormously help to achieve the essential writers’ need to convince their readership of the truth in their propositions. They are mainly used whenever writers consider it not too risky to include them in their propositions. This study aims to investigate the frequencies and functions of hedges and boosters in academic students' essays. To meet this end, 96 students' essays (a total of 269.428 words) were selected from the Michigan Corpus of Upper-Level Student Papers (MICUSP), including English and Psychology disciplines. The corpus was analyzed based on Abdollahzadeh (2019)classification of hedges. The results showed that hedges and boosters were frequent enough to be considered in teaching writing, either reducing or increasing the force of written utterances. The results of this study could be used directly in the syllabus designed for academic essay writing.

D’un point de vue sémiotique l’art est un effet de sens ; l’ effet de l’art , le saisissement artistique, est un événement esthétique, affectif, cognitif, présent dans toute œuvre d’art. Cet effet résulte d’un processus que nous pouvons reconstruire, l’ artistisation . Nous devons donc circonscrire un objet (l’ œuvre ), qui induit un effet (l’ art ), en exprimant un processus (l’ artistisation ). L’œuvre picturale ne se résume donc pas à des images : c’est un objet sémiotique composite, un hybride composé de processus, supports, matières, énergies, et tout ce qui lui confère un mode d’existence social et culturel. C’est précisément le cas des œuvres de Mehdi Sahabi ; nous ne pouvons examiner ici la totalité de ce qui en fait des œuvres, et nous nous limiterons au fait essentiel : une œuvre , pour Sahabi, est toujours une série , c’est sa manière de faire œuvre d’art . Nous examinerons donc dans ses séries picturales (1) les tensions caractéristiques de la « nouvelle figuration », et les manifestations d’une pratique inter-picturale ; (2) les isotopies et allotopies transversales de l’expression sérielle et multilinéaire ; (3) le travail des strates picturales et des couches actantielles, et l’expérimentation des dynamiques imaginaires. Le processus d’artistisation, en production comme en interprétation, est celui de l’ intuition (impression > synthèse > anagogie > imagination).