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One of the difficulties facing early seventeenth-century Protestants in England, as Catherine Gimelli Martin has argued, was how to reconcile God’s decree of election, which is made before and outside time, with the temporal human experience of coming to be assured in one’s salvation. The question of “am I saved?” is thus closely allied with the question “when will I know that I am saved?” This article explores the tension between these two questions in Donne’s Holy Sonnets, examining the Sonnets’ temporal ambiguities in order to suggest that Donne uses this ambiguity as a strategy to recast the question of his salvation within a framework he controls. Through careful reading of Donne’s use of shifting verb tenses and moods, this article shows how the Holy Sonnets struggle to develop a concrete narrative of salvation, a struggle consistent with Donne’s widely noted distrust of time. Instead of tracing a linear temporal progression toward assurance, the Sonnets shift from the indicative and conditional to the imperative mood as a way to stop time and reframe the question of the speaker’s salvation as a matter of possibility rather than of future promise. Instead of asking whether he is saved or when he will know whether he is saved, Donne’s speaker refigures the problem around the question of whether he is able to be saved, using the poetic and grammatical tools at his disposal to produce the answer he wants.

This book brings together ten essays on John Donne and George Herbert composed by an international group of scholars. The volume represents the first collection of its kind to draw close connections between these two distinguished early modern thinkers and poets who are justly coupled because of their personal and artistic association. The contributors' distinctive new approaches and insights illuminate a variety of topics and fields while suggesting new directions that future study of Donne and Herbert might take. Some chapters explore concrete instances of collaboration or communication between Donne and Herbert, and others find fresh ways to contextualize the Donnean and Herbertian lyric, carefully setting the poetry alongside discourses of apophatic theology or early modern political theory, while still others link Herbert's verse to Donne's devotional prose. Several chapters establish specific theological and aesthetic grounds for comparison, considering Donne and Herbert's respective positions on religious assurance, comic sensibility, and virtuosity with poetic endings. 

The status of strong emotion, and particularly of pity, in King Lear (1608, 1623) is a vexed question. On the one hand, readers rarely deny that the play's conclusion evokes intense sorrow and pity in its audience. On the other, there is little consensus over whether this is a good thing. In a play that has been read largely for what it has to show them about power, hierarchy, and social injustice, pity disrupts attempts to critique these forces by troubling the pitier's ability to make moral and ethical judgments. Here, Hilaire argues that the ostensible choice the play thrusts upon people--either to acquiesce to their pity and forget justice, or to fight back our emotional response in order hold on to the principle of justice as a standard for evaluating the text--is only difficult if they ignore the critique King Lear itself (and King Lear himself) levels against justice as a standard for evaluating people.

This essay defends Shakespeare's character Titus Andronicus against recent criticism by arguing that the calamitous events in Titus Andronicus are not caused by Titus behaving badly but by the construction of the play around a textual tradition that offers only sacrifice as an alternative to war. By demonstrating how Titus's actions might be read plausibly as the best possible reactions to an already bad situation, I argue that the greatest force of violence in the play is misreading and that the play's ultimate question is how a peaceful future can grow out of a bloody past.

Background It is a qualitative design study that examines points of divergence and convergence in the perspectives on recovery of 36 participants or 12 triads. Each triad comprising a patient, a family member/friend, a care provider and documents the procedural, analytic of triangulating perspectives as a means of understanding the recovery process which is illustrated by four case studies. Variations are considered as they relate to individual characteristics, type of participant (patient, family, member/friend and care provider), and mental illness. This paper which is part of a larger study and is based on a qualitative research design documents the process of recovery of people with mental illness: Developing a Model of Recovery in Mental Health: A middle range theory. Methods Data were collected in field notes through semi-structured interviews based on three interview guides (one for patients, one for family members/friends, and one for caregivers). Cross analysis and triangulation methods were used to analyse the areas of convergence and divergence on the recovery process of all triads. Results In general, with the 36 participants united in 12 triads, two themes emerge from the cross-analysis process or triangulation of data sources (12 triads analysis in 12 cases studies). Two themes emerge from the analysis process of the content of 36 interviews with participants: (1) Revealing dynamic context , situating patients in their dynamic context; and (2) Relationship issues in a recovery process , furthering our understanding of such issues. We provide four case studies examples (among 12 cases studies) to illustrate the variations in the way recovery is perceived, interpreted and expressed in relation to the different contexts of interaction. Conclusion The perspectives of the three participants (patients, family members/friends and care providers) suggest that recovery depends on constructing meaning around mental illness experiences and that the process is based on each person's dynamic context (e.g., social network, relationship), life experiences and other social determinants (e.g., symptoms, environment). The findings of this study add to existing knowledge about the determinants of the recovery of persons suffering with a mental illness and significant other utilizing public mental health services in Montreal, Canada.

IntroductionThe COVID-19 pandemic and associated restrictive measures have caused important disruptions in economies and labour markets, changed the way we work and socialise, forced schools to close and healthcare and social services to reorganise. This unprecedented crisis forces individuals to make considerable efforts to adapt and will have psychological and social consequences, mainly on vulnerable individuals, that will remain once the pandemic is contained and will most likely exacerbate existing social and gender health inequalities. This crisis also puts a toll on the capacity of our healthcare and social services structures to provide timely and adequate care. The MAVIPAN (Ma vie et la pandémie/ My Life and the Pandemic) study aims to document how individuals, families, healthcare workers and health organisations are affected by the pandemic and how they adapt.Methods and analysisMAVIPAN is a 5-year longitudinal prospective cohort study launched in April 2020 across the province of Quebec (Canada). Quantitative data will be collected through online questionnaires (4–6 times/year) according to the evolution of the pandemic. Qualitative data will be collected with individual and group interviews and will seek to deepen our understanding of coping strategies. Analysis will be conducted under a mixed-method umbrella, with both sequential and simultaneous analyses of quantitative and qualitative data.Ethics and disseminationMAVIPAN aims to support the healthcare and social services system response by providing high-quality, real-time information needed to identify those who are most affected by the pandemic and by guiding public health authorities’ decision making regarding intervention and resource allocation to mitigate these impacts. MAVIPAN was approved by the Ethics Committees of the Primary Care and Population Health Research Sector of CIUSSS de la Capitale-Nationale (Committee of record) and of the additional participating institutions.Trial registration numberNCT04575571.

This dissertation reconsiders Satan in Paradise Lost outside of the well-worn hero vs. fool debates by linking Satan's meaningfulness in the narrative directly to the conditions of meaning that underlie the poem. Because Satan is for Milton both the embodiment of fallenness and its cause, his journey through the poem demonstrates how the world in which Paradise Lost constructs itself comes to be. For this reason, \"Satan's Poetry\" argues that Satan's development in the poem underlies the poem's own development, providing us with a way to understand how the poem situates itself as a part of the fallen world and what it means for it to be thus fallen. The first chapter demonstrates that the language of poetry is the language of Satan, or fallen language more generally, and that this language is negatively constructed, a language of \"enigmas\" in the Adornian sense. By making this connection between Satan and Milton's poetics, this dissertation then goes on in the second and third chapters to rethink Paradise Lost's relation to its poetic tradition, arguing that this negative language produces negative relationships between individuals (human or poetic) in the fallen world. These relationships demand that we read allusion as the use of old words and images to mean something new, demonstrating Paradise Lost 's distance from its predecessors rather than its proximity; reading in this way, as the second chapter demonstrates, allows us to read Milton's poem against multiple texts at once, rather than confining our readings to the linear model of influence relations. The third chapter argues that these differential relationships force us to rethink Milton's tradition not as a coherent whole or \"canon\" whose authority restricts subsequent literary endeavors, but as a constellation of specific relationships between individual texts that demands creation instead of repressing it. This turn to the creative individual that is the result of the fall is, the final chapter argues, the crucial problem with which Paradise Lost grapples, and \"Satan's Poetry\" ends by demonstrating that the very negativity that is the symptom of fallenness also bears with it the promise of redemption.