Mental Health and Clinical Correlates in Lesbian,Gay, Bisexual,and Queer Young Adults

Abstract

Objective: This study examined the prevalence of mental health disorders and their clinical correlates in a university sample of lesbian, gay, bisexual, and queer (LGBQ) students. Participants: College students at a large public university. Methods: An anonymous, voluntary survey was distributed via random e-mail generation to university students during April and May of 2011. LGBQ students were compared with their heterosexual counterparts on psychological and physical status as well as academic performance. Results: LGBQ students reported worse depressive symptoms, higher levels of perceived stress, considered themselves less attractive, and were more likely to be overweight. LGBQ students were significantly more likely to report histories of affective, substance use, and certain anxiety disorders as well as compulsive sexual behavior and compulsive buying. Conclusions: The higher rates of many psychiatric conditions among LGBQ students underscore the need for universities to provide LGBQ students a nonjudgmental environment to discuss sexual orientation and health issues.     

历史与注释--对马克思"人的本质的对象化活动"之文化价值解读引发的思考

历史是由注释组成的.每一个注释都是历史片断的回放和缩影.人生的意义和价值在历史注释中得到体现和说明.人们在注释历史,历史也在注释人们.人们注释历史是对历史的雕刻和理解,历史注释人们是对人们的铭记和评价.每一部个体人生史在历史中表现为大小不同的历史注释.     

‘Cinema,Glamour, Atrocity’: Narratives of Trauma

Abstract

Cinematic treatments of trauma have to confront the challenge that every aesthetic choice is also an ethical one. This challenge poses special problems for questions of truth and the representation of victims and perpetrators. Three documentaries made by Mark Kaplan (1996–2004) explore the history of South African student activist Siphiwo Mtimkulu, tortured and murdered by security policemen in the early 1980s, and the subsequent interaction between Gideon Nieuwoudt, one of the perpetrators, and the Mtimkulu family during the Truth and Reconciliation Commission Hearings. Ian Gabriel's fiction film, Forgiveness (2004), uses key aspects of this history in his treatment of a repentant perpetrator seeking forgiveness from his victim's family. In my analysis, I argue that respect for a realist aesthetic – the notion that the camera can and does reveal the world to us – may be combined with self-reflexivity, narrative layering and generic innovation to produce a complex representation of truth, victim and perpetrator. I suggest, further, that the initial choice of subject will determine to some extent the degree of complexity with which issues of truth, on the one hand, and the nature of the victim and the perpetrator, on the other, will be developed.     

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