2 results
Embarrassment when illness strikes a close relative: a World Mental Health Survey Consortium Multi-Site Study
- B. K. Ahmedani, S. P. Kubiak, R. C. Kessler, R. de Graaf, J. Alonso, R. Bruffaerts, Z. Zarkov, M. C. Viana, Y. Q. Huang, C. Hu, J. A. Posada-Villa, J.-P. Lepine, M. C. Angermeyer, G. de Girolamo, A. N. Karam, M. E. Medina-Mora, O. Gureje, F. Ferry, R. Sagar, J. C. Anthony
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- Journal:
- Psychological Medicine / Volume 43 / Issue 10 / October 2013
- Published online by Cambridge University Press:
- 09 January 2013, pp. 2191-2202
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Background
In this global study we sought to estimate the degree to which a family member might feel embarrassed when a close relative is suffering from an alcohol, drug, or mental health condition (ADMC) versus a general medical condition (GMC). To date, most studies have considered embarrassment and stigma in society and internalized by the afflicted individual but have not assessed family embarrassment in a large-scale study.
MethodIn 16 sites of the World Mental Health Surveys (WMHS), standardized assessments were completed including items on family embarrassment. Site matching was used to constrain local socially shared determinants of stigma-related feelings, enabling a conditional logistic regression model that estimates the embarrassment close relatives may hold in relation to family members affected by an ADMC, a GMC, or both conditions.
ResultsThere was a statistically robust association such that subgroups with an ADMC-affected relative were more likely to feel embarrassed compared to subgroups with a relative affected by a GMC (p < 0.001), even with covariate adjustments for age and sex.
ConclusionsThe pattern of evidence from this research is consistent with conceptual models for interventions that target individual- and family-level stigma-related feelings of embarrassment as possible obstacles to effective early intervention and treatment for an ADMC. Macro-level interventions are under way but micro-level interventions may also be required among family members, along with care for each person with an ADMC.
Virtual Faith
- Anthony Kubiak
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- Journal:
- Theatre Survey / Volume 47 / Issue 2 / November 2006
- Published online by Cambridge University Press:
- 12 September 2006, pp. 271-276
- Print publication:
- November 2006
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The recent rubs and resistances within the various flows of religious thought and practice in American culture and politics have become near clichés. The impact of right-wing religions on government and cultural policies has been well noted, as have the concomitant attempts to keep religion of all kinds out of politics entirely. Meanwhile, the problematic status of Islam both locally and globally has become a continuous topic of debate, as have the debates over creationism and so-called intelligent design in American schools. These high-profile debates have in turn eclipsed the suspicions of academic leftist thought regarding religious questions of any sort, and this has in turn resulted in an entrenchment of theory—especially political theory—into a kind of religiosity of its own, while various forms of revivalism have signaled the mutation of faith into dogma, most recently the dogma of moderation. Each of these issues, apart from its intrinsic importance and currency, speaks to the practice of religion as a fundamentally philosophical problem of appearances that continues to emerge as a first cause of politics and of culture. The status of religion as a uniquely performative issue will, I think, occupy theorists over the coming years. Indeed, I suggest here that the thinking through of religion and spirituality will necessarily take place along the ontologic fault lines not just of performance but of theatre itself, and will come to delineate the important differences between performance and theatre. Finally, the reappraisal of religion as an ontologically charged theatricality will move into areas far afield from normative spirituality: cyberreligions and technoshamanism, chaos magic and the new alchemies, rave culture and other varieties of hyperinduced trance states.1 Although the focus in these newer forms of performance is almost exclusively on music, sound, and movement, the ultimate goal is the created intensity of a shared performative experience framed by theatrical perception: Artaud is the genius cited by nearly all of the authors of these phenomena. One larger suggestion here, in fact, is the moribund state of current theory, which sees dance culture (techno, hip-hop, electronica, rave), when it sees it at all, almost exclusively in cultural and political terms, ignoring the ecstatic, trance, and transformative aspects of DJ culture at large.2