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Patients with posttraumatic stress disorder (PTSD) exhibit smaller regional brain volumes in commonly reported regions including the amygdala and hippocampus, regions associated with fear and memory processing. In the current study, we have conducted a voxel-based morphometry (VBM) meta-analysis using whole-brain statistical maps with neuroimaging data from the ENIGMA-PGC PTSD working group.
Methods
T1-weighted structural neuroimaging scans from 36 cohorts (PTSD n = 1309; controls n = 2198) were processed using a standardized VBM pipeline (ENIGMA-VBM tool). We meta-analyzed the resulting statistical maps for voxel-wise differences in gray matter (GM) and white matter (WM) volumes between PTSD patients and controls, performed subgroup analyses considering the trauma exposure of the controls, and examined associations between regional brain volumes and clinical variables including PTSD (CAPS-4/5, PCL-5) and depression severity (BDI-II, PHQ-9).
Results
PTSD patients exhibited smaller GM volumes across the frontal and temporal lobes, and cerebellum, with the most significant effect in the left cerebellum (Hedges’ g = 0.22, pcorrected = .001), and smaller cerebellar WM volume (peak Hedges’ g = 0.14, pcorrected = .008). We observed similar regional differences when comparing patients to trauma-exposed controls, suggesting these structural abnormalities may be specific to PTSD. Regression analyses revealed PTSD severity was negatively associated with GM volumes within the cerebellum (pcorrected = .003), while depression severity was negatively associated with GM volumes within the cerebellum and superior frontal gyrus in patients (pcorrected = .001).
Conclusions
PTSD patients exhibited widespread, regional differences in brain volumes where greater regional deficits appeared to reflect more severe symptoms. Our findings add to the growing literature implicating the cerebellum in PTSD psychopathology.
Intergenerational transmission of mental disorders has been well established, but it is unclear whether exposure to a child's mental disorder increases parents' subsequent risk of mental disorders.
Aims
We examined the association of mental disorders in children with their parents' subsequent mental disorders.
Method
In this population-based cohort study, we included all individuals with children born in Finland or Denmark in 1990–2010. Information about mental disorders was acquired from national registers. The follow-up period began when the parent's eldest child was 5 years old (for ICD-10 codes F10–F60) or 1 year old (for codes F70–F98) and ended on 31 December 2019 or when the parent received a mental disorder diagnosis, died, or emigrated from Finland or Denmark. The associations of mental disorders in children with their parents' subsequent mental disorders were examined using Cox proportional hazards models.
Results
The study cohort included 1 651 723 parents. In total, 248 328 women and 250 763 men had at least one child who had been diagnosed with a mental disorder. The risk of a parent receiving a mental disorder diagnosis was higher among those who had a child with a mental disorder compared with those who did not. For both parents, the hazard ratios were greatest in the first 6 months after the child's diagnosis (hazard ratio 2.04–2.54), followed by a subtle decline in the risk (after 2 years, the hazard ratio was 1.33–1.77).
Conclusion
Mental disorders in children are associated with a greater risk of subsequent mental disorders among their parents. Additional support is needed for parents whose children have been recently diagnosed with a mental disorder.
Academic disciplines, and especially history and archaeology, presume that a particular kind and experience of time is normal and universal. Although deeply concerned with history, rock art confounds ‘settler-time’ and the temporalities assumed by academic disciplines. This chapter considers the ‘re-appearance’ of ever-present buffalos in west Arnhem art, as well as the ever-presence of seemingly ‘disappeared’ art to reveal how the knowledge on the rocks points to alternative ways of experiencing time.
This chapter provides a broad overview of the richness and diversity of rock art in western Arnhem Land. Emphasising the cultural connectivity between rock art, history, culture, Ancestral Beings, language, and land, we introduce the cultural context for rock art creation as well as the paradox whereby an apparently conservative artistic tradition might also shed light on historical particularity and change.
Until recently, academics deemed that the pasts of Australian Indigenous people did not really count as history. But First Nations people have quite obviously left records of their experiences and have long insisted that they have history. For example, Aboriginal people have variously referred to rock art as ‘archives’. In order to comprehend Indigenous archives, this chapter makes the case for broader approaches to knowledges and conceptions of the past.
This chapter reveals how rock art sheds important light on individual lives as well as speaking more broadly to Indigenous experiences. We argue that rock art is created in social, historical contexts – and these contexts are evidenced in the art. Rock art is a fully situated historical source. Focusing on the story of artist Quilp, we demonstrate how rock art is a ‘counter-archive’ that can reveal important new understandings about Aboriginal experience, about which the colonial archive is silent.
This chapter reveals how Aboriginal people adopted and integrated alphabetic script into their art, recognising the potential of this kind of knowledge transmission and blurring the categories imposed on their pasts. Focusing on the biography of artist Narlim, we reveal how he integrated alphabetic script into his art at times, experimenting with different forms of communication.
This chapter turns to intergenerational historical memory and the function of rock art as both archive and mnemonic as the art’s own communicative power. Through the biography of Josie Maralngurra, we reveal the art’s function in passing historical knowledge to the next generation at its production, content, through evoking memory and its speaking to future generations. Rock art is a means of transferring knowledge in the present to future generations; a living practice as well as ancient record.
We conclude that this First Nations archive is a repository of a different kind, for a different kind of history, grounded in a different kind of time, beyond the limited pasts which most academic historians and archaeologists are used to knowing. Scholars must therefore rely on deep partnerships and reciprocity with First Nations communities to approach these knowledges.