Approval of Coercion in Psychiatry in Public Perception and the Role of Stigmatization

Background: Coercion is routinely used in psychiatry. Its benefits and drawbacks are controversially debated. In addition, the majority of persons with mental health problems are exposed to stigmatization and are assumed to be dangerous. Stigmatization is associated with negative consequences for individuals with mental illness such as disapproval, social rejection, exclusion, and discrimination. Being subjected to coercive measures can increase the stigmatization of the affected persons, and stigmatization might lead to higher approval for coercion.Aims of the Study: This study aims to examine the approval for coercive measures in psychiatry by the general public, and to explore its relation with person- and situation-specific factors as well as with stigmatization.Method: We conducted a representative survey of the general population (N = 2,207) in the canton of Basel-Stadt, Switzerland. Participants were asked to read a vignette depicting psychopathological symptoms of a fictitious character and indicate whether they would accept coercive measures for the person in the vignette. Desire for social distance and perceived dangerousness were assessed as measures of stigmatization.Findings: The person in the case vignette exhibiting dangerous behavior, showing symptoms of a psychotic disorder, being perceived as dangerous, and treatment being understood as helpful increased approval of coercion in general, while familiarity of the respondents with mental illness decreased approval.Conclusions: The public attitude regarding the approval of coercion in psychiatry is highly differentiated and largely follows the current legal framework and medical treatment guidelines. Higher approval occurred in situations of self-harm or harm to others and when coercive measures were thought to have a beneficial effect for the affected persons. A considerable part of the approval for coercion is predicted by stigmatization. With the increasing severity of coercive measures, the influence of person- and situation-specific factors and of familiarity with mental illness decreased and generalizing and stigmatizing attitudes became stronger predictors for the approval of more severe measures.

Loneliness, Escapism, and Identification With Media Characters: An Exploration of the Psychological Factors Underlying Binge-Watching Tendency

Nowadays, binge-watching (i.e., watching multiple episodes of a TV series in one session) has become a widespread practice of media consumption, raising concerns about its negative outcomes. Nevertheless, previous research has overlooked the underlying psychological mechanisms leading to binge-watching. In the present work, we investigated some of the psychological variables that could favor binge-watching tendencies in a sample of TV series viewers (N = 196). To this aim, psychological determinants of problematic digital technologies usage (i.e., feelings of loneliness), as well as some of the mechanisms related to the enjoyment of media contents (i.e., escapism and the identification with media characters), were considered as predictors of the tendency to binge-watch. Results indicated that higher feelings of loneliness were associated with higher levels of problematic digital technologies usage. Additionally, direct and indirect effects showed that only escapism – out of the four dimensions measuring the problematic use of Internet-related technologies – predicted participants’ stronger identification with media characters, which in turn promoted greater binge-watching tendencies. Overall, we suggest that binge-watching could be interpreted as a coping strategy for media escapists, who enjoy TV series as a privileged online space in which the need to escape finds its fulfillment, allowing them to manage loneliness by identifying with a fictitious character.

Who Was He? Internment, Exile and Ambiguity in Norbert Gstrein’s Novel Die englischen Jahre (The English Years) (1999)

Winner of the Alfred Döblin Preis in 1999, the novel Die englischen Jahre by the Austrian novelist Norbert Gstrein deals with internment and exile in Britain dur- ing and after the Second World War. It centres on the (fictitious) character of Gabriel Hirschfelder, a writer and refugee from Nazi-occupied Austria who is detained, with oth- er ‘enemy aliens,’ in a camp on the Isle of Man. There, Nazi sympathisers are interned together with Jewish and political refugees, and the central chapters in the novel depict the conditions and resulting conflicts in the internment camp. Hirschfelder dies in exile at Southend-on-Sea, having confessed shortly before his death that he killed a fellow inmate. This confession as well as reports of a transport of internees sunk off the coast of Scotland in 1940 incite a young Austrian woman to try to solve the mystery surrounding Hirschfelder and his allegedly lost autobiography The English Years. The paper discusses how Gstrein combines different genres like the historical novel/historiographic metafic- tion and the whodunit as well as using multiple narrative perspectives and refractions to pinpoint questions of shifting identities and allegiances, and of belonging and alienation in the wake of internment and exile.

My Work is Yours to Do What I Want

My Work is Yours to Do What I Want narrates the trajectory of two companies, one of them actual (Best Made Co.), and the second (Re Made Co.), an artwork posing as a company that uses remix to strategically confuse, conflate, and disrupt consumer culture. Re Made appears to be an online company founded by the fictitious character Peter Smith-Buchanan, and selling $350 hand-painted plungers. The entire event of Re Made offers an alternate universe—both digital and real—for Best Made Company, which was founded by (the real) Peter Buchanan-Smith, and specializes in $350 artisanal axes. Like a cloned twin or digital virus, Re Made and Buchanan-Smith mimic Best Made and Smith-Buchanan. If Best Made posts a decapitated pig’s head with an axe in its mouth on social media, Re Made’s BBQ pig gnashes a plunger on Instagram. When a New York Times feature refers to the Best Made axe as “manly,” a divergent NYTimes article heralds the masculine plunger. Peter Buchanan-Smith declares the axe to be “embedded in men’s DNA,” and Smith-Buchanan proclaims the plunger an extension of men’s bodies. The real Peter Buchanan-Smith emails Re Made’s CEO Peter Smith-Buchanan insisting he stop this plunder of reality. Acting as Smith-Buchanan’s intern, I (the female creator of the artwork) reply. Best Made’s lawyers send Re Made’s lawyers a 32-page cease-and-desist documenting the paths converging too closely for their liking. Just as the artwork Re Made uses remix via a media-based platform to intentionally confuse “original” content and appropriated material, My Work is Yours to Do What I Want playfully narrates the impulses and parasitic manipulations

Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”

The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.

Male Postpartum Preface: Cervantes and Lord Byron’s Prefaces to Don Quixote and Childe Harold’s Pilgrimage

The purpose of this paper is to attend to the preface as an important element in understanding the symbiotic relationship between author and text, especially when a male author assumes the female power of procreation. In the prefaces to Don Quixote Part I and II and Childe Harold's Pilgrimage, Cervantes and Lord Byron, respectively, identify their main heroes as their 'child of the imagination/brain '. Nevertheless, in many instances we encounter moments of anxiety manifested in a dialectic of engagement and disengagement, owning and disowning, of denying and defending theirfictional personages. To Cervantes, Don Quixote is "child of his brain", the son, and yet hes also the stepson, who eventually ends up no more than a brave knight; to Byron, as well, Childe Harold was initially called Childe Burun, but later on is referred to as just a "fictitious character" from whom Byron tried to disengage throughout the poem. This equivocal and dialectical discourse ofembracement and abandonment could be better understood by extending the birthing metaphor to encompass postpartum anxiety. In the prefaces, both Cervantes and Byron Platonic male spiritual pregnancy is combined with the female physical and psychological symptoms of giving birth and its qftermath. Thus, the preface becomes a birth certificate not only legitimizing the hero, but also problematizing the parental relationship between father/author and son/text or hem, for it involves more than the ontological history Of the hem or the text.

Whose Club Is It Anyway?: The Problematic of Trans Representation in Mainstream Films––“Rayon” and Dallas Buyers Club

Dallas Buyers Club (2013) offers a stereotypical representation of trans themes and images that do not fit contemporary gender-diverse communities, creating negative images and damaging connotations that could last for years. This article explores the stereotypical characterization and clichéd narrative devices deployed to create the fictitious character of Rayon in Dallas Buyers Club and examines the ongoing problematic of trans representation within mainstream cinematic texts by comparing Dallas Buyers Club with The Crying Game (1992), Boys Don’t Cry (1999), and Transamerica (2005). To contextualize the ongoing issues raised by the film and its screenplay, this article reads Rayon as one example in a long line of socially proscribed Hollywood “fallen women,” here, with the narrative displaced onto the transgender body.

A representação da representação: lirismo e ironia romântica em Vícios e virtudes, de Helder Macedo

<p><strong>Resumo</strong>: O texto refere-se a um estudo dos processos de construção do romance Vícios e virtudes, de Helder Macedo, objetivando a retomada e a discussão do conceito de ironia romântica. Essa ironia, em especial, desmistifica os jogos da representação artística clássica, que entende o texto literário como imitação do real. Ao contrário disso, favorece a expressão do fazer literário com todas as suas limitações, elaborações e reelaborações de linguagem, legitimando o caráter de arte, de natureza fictícia e, pois, de exercício de experimentação presentes na literatura. O escritor Helder Macedo parece propor, no referido romance, uma reflexão acerca do processo criativo – reflexão que se ocupará fundamentalmente da construção da obra literária, compreendida enquanto criação permanente. Acreditamos que a ironia romântica potencializa essa reflexão, na medida em que desvela o fazer literário como encenação, como fingimento. Pensando na estrutura paradoxal da ironia, acreditamos que ela acaba por dizer sempre mais do que fica expresso e, nesse sentido, aproxima-se da literatura de um modo geral, mas, sobretudo, do estilo lírico. O elemento lúdico parece caracterizá-los, na medida em que ambos – a ironia romântica e o lírico – partem de uma espécie de jogo que contraria o pragmatismo da linguagem convencional. Para Antonino Pagliaro, “A ironia participa ao mesmo tempo do caráter agonístico do enigma e do jogo poético.” O romance Vícios e virtudes, do escritor português Helder Macedo, cria um espaço importante para o estudo das questões colocadas, já que expressa um projeto literário no qual se exibe uma intensa valorização do estético, do ficcional e do poético.</p> <p><strong>Palavras-chave</strong>: Ficção; ironia romântica; lirismo; representação.</p> <p><strong> </strong></p> <p><strong>Abstract</strong>: This study approaches the processes of construction of the novel Vices and virtues by Helder Macedo, aiming to discussthe concept of romantic irony. This irony, in particular, demystifies the games of classic artistic representation, which considers the literary text as an imitation of the real. In contrast, it favors the expression of literary writing with all its limitations, elaborations, and reworking of language, legitimizing the art and fictitious character and, therefore, of experimentation in literature. In the novel writer Helder Macedo seems to propose a reflection on the creative process that essentially works on the construction of the literary work, which is understood as a permanent creation. We believe that romantic irony enhances this reflection as it reveals the literary writing as staging and pretense. Thinking about the paradoxical structure of irony, we believe it always ends up saying more than what is expressed, thus, it approaches the literature in general, but especially the lyrical style. The playfulness seems to characterize them once both – the romantic irony and the lyrical aspect – run by a kind of game that contradicts the pragmatism of conventional language. To Antonino Pagliaro, “Irony is simultaneously involved in the agonistic character of the puzzle and in the poetic game”. The novel Vices and virtues by the Portuguese writer Helder Macedo, creates an important space for the study of the issues raised, once it expresses a literature project in which there is intense appreciation of the aesthetic, the fictional and the poetic characters.</p> <p><strong>Keywords</strong>: Fiction; romantic irony; lyricism; representation.</p>

Variation of aromaticity by twisting or expanding the ring content

Generalization of the Hückel rule predicts that the (anti)aromaticity of a neutral ring is qualitatively reverted upon a single twist of the π-orbital array (Möbius interconversion), and is preserved upon expansion of all the bonds by single C2 units (ring carbo-merization). These opposite effects are addressed from quantitative theoretical and experimental standpoints, respectively. (i) According to most resonance energy (RE) schemes, the RE value of a Möbius ring is not the opposite of that of the Hückel version. This also applies to the Aihara’s and Trinajstic’s topological resonance energy (TRE), where a non-aromatic reference in the topological limit is defined as being “as identical as possible” to the parent ring but just “acyclic”. In spite of its conceptual merits, the computing complexity and fictitious character of the TRE acyclic reference resulted in a disuse of TRE as a current energetic aromaticity index. Both the calculation and interpretation of TRE have been revisited in light of a cross-reference between the Hückel and Möbius rings within the Hückel molecular orbital (HMO) framework. Whereas the topological influence of triple bonds is currently neglected in the first-level HMO treatment of π-conjugated systems, a graph-theoretical analysis allows one to differentiate the TRE value of a [3n]annulene from those of the corresponding carbo-[n]annulene. The C18 ring of carbo-benzene is thus predicted to be slightly more topologically aromatic than that of [18]annulene. (ii) Recent experimental and density functional theory (DFT) theoretical studies of quadrupolar carbo-benzene derivatives are presented. The results show that the “flexible aromaticity” of the p-C18Ph4 bridge between donor anisyl substituents plays a crucial role in determining the intriguing chemical/spectroscopical/optical properties of these carbo-chromophores.