Reliability and validity of spirituality questionnaire by Parsian and Dunning in the Spanish version

The aim of this methodological study was to translate, culturally adapt and assess the internal consistency and validity of the Spanish version of the "Spirituality Questionnaire". The sample comprised 204 young people between 18 and 25 years of age from two universities in Bogota. Cronbach's Alpha was used for reliability, while groups of experts and young people were used for construct validity. The reliability score of the total instrument was 0.88. The overall index of content validity corresponded to 0.90. Exploratory factor analysis showed that four factors explain 52.60% of the variance. The originally proposed theoretical model was confirmed and, in two dimensions, a different structure was proposed. In conclusion, the instrument "Spirituality Questionnaire" by Parsian and Dunning is reliable and valid in the Spanish version.

Psychometric properties of the Spanish version of the mindful attention awareness scale (MAAS) in patients with fibromyalgia

Background Mindful-based interventions improve functioning and quality of life in fibromyalgia (FM) patients. The aim of the study is to perform a psychometric analysis of the Spanish version of the Mindful Attention Awareness Scale (MAAS) in a sample of patients diagnosed with FM. Methods The following measures were administered to 251 Spanish patients with FM: the Spanish version of MAAS, the Chronic Pain Acceptance Questionnaire, the Pain Catastrophising Scale, the Injustice Experience Questionnaire, the Psychological Inflexibility in Pain Scale, the Fibromyalgia Impact Questionnaire and the Euroqol. Factorial structure was analysed using Confirmatory Factor Analyses (CFA). Cronbach's α coefficient was calculated to examine internal consistency, and the intraclass correlation coefficient (ICC) was calculated to assess the test-retest reliability of the measures. Pearson’s correlation tests were run to evaluate univariate relationships between scores on the MAAS and criterion variables. Results The MAAS scores in our sample were low (M = 56.7; SD = 17.5). CFA confirmed a two-factor structure, with the following fit indices [sbX2 = 172.34 (p < 0.001), CFI = 0.95, GFI = 0.90, SRMR = 0.05, RMSEA = 0.06. MAAS was found to have high internal consistency (Cronbach’s α = 0.90) and adequate test-retest reliability at a 1–2 week interval (ICC = 0.90). It showed significant and expected correlations with the criterion measures with the exception of the Euroqol (Pearson = 0.15). Conclusion Psychometric properties of the Spanish version of the MAAS in patients with FM are adequate. The dimensionality of the MAAS found in this sample and directions for future research are discussed.

A ironia na teoria do romance: da exigência normativo-composicional do romance em Goethe ao viver a arte em Novalis

O presente artigo busca explicitar o conceito de ironia na Teoria do romance. A explicitação do conceito de ironia se desdobrará num desenvolvimento duplo: como exigência normativo-composicional e como radicalização subjetiva que excede a normatividade. No primeiro sentido, a ironia configura subjetivamente uma totalidade na obra épica, partindo da sua fragmentação objetiva nas relações sociais modernas. Nessa acepção, a ironia se apresenta como uma manobra subjetiva a serviço da normatividade épica do romance, pois sua finalidade é harmonizar o ideal subjetivo com a objetividade histórica burguesa. Seu paradigma é representado, neste artigo, por Goethe. O outro sentido pelo qual a ironia romântica aparece é demarcado pela forma extremada da subjetividade. Esta, reconhecendo uma impossibilidade de realização de seu ideal harmônico na modernidade, porque o mundo moderno se lhe apresenta como uma efetividade oposta aos anseios subjetivos, refugia-se na própria interioridade e se distancia do mundo presente, buscando refúgio em tempos e lugares mais propícios à realização poética. Novalis é o modelo dessa ironia radicalizada. Essa forma irônica, ao contrário da "cadência irônica" de Goethe, aniquila a forma romance, uma vez que o aspecto subjetivo da pura reflexão, a lírica, se sobrepõe à objetividade histórica presente que o romance também necessariamente deve encerrar.