Generalisierte Angststörung ressourcen- und problemorientiert behandeln - deutsche Adaption des Manuals Mastery your Anxiety and Worry (MAW)

Problemstellung: Patienten mit (komorbider) generalisierter Angststörung (GAS) werden oftmals als ausschließlich depressive Patienten fehlinterpretiert. Da GAS-Patienten relativ gut auf die medikamentöse Depressions- Behandlung ansprechen, wird diese Fehlinterpretation in der Praxis oftmals nicht erkannt. Für die Psychotherapie kann sich die nicht erkannte GAS-Problematik jedoch ungünstig auswirken, so dass die Patienten ein suboptimales psychotherapeutisches Angebot erhalten (wie beispielsweise suboptimale Psychoedukation, Verstärkung der Nervosität durch den schnellen Aufbau „angenehmer“ Tätigkeiten). GAS-spezifische Aspekte, wie das Erkennen von Sorgenketten werden dadurch von Therapeuten oftmals übersehen oder falsch interpretiert (z. B. Fehlinterpretation der Sorgenketten als „ressourcenorientierte“ Ziele oder „positive“ Reframings). Ziele des Workshops: Einführung in die deutsche Adaption des Manuals Mastery your Anxiety and Worry (MAW) nach Zinbarg, Craske & Barlow (2006) mittels Therapiemanual und Videobeispielen GAS-spezifische Interventionen wie GAS-Psychoedukation, Sorgentagebuch oder Imagery exposure kennen Ressourcen- und problemorientierte Fallkonzeption im Rahmen der generalisierten Angststörung kennen Individualisierung im Rahmen des MAW-Manuals

Developing Psychosis and Its Risk States Through the Lens of Schizotypy

Starting from the early descriptions of Kraepelin and Bleuler, the construct of schizotypy was developed from observations of aberrations in nonpsychotic family members of schizophrenia patients. In contemporary diagnostic manuals, the positive symptoms of schizotypal personality disorder were included in the ultra high-risk (UHR) criteria 20 years ago, and nowadays are broadly employed in clinical early detection of psychosis. The schizotypy construct, now dissociated from strict familial risk, also informed research on the liability to develop any psychotic disorder, and in particular schizophrenia-spectrum disorders, even outside clinical settings. Against the historical background of schizotypy it is surprising that evidence from longitudinal studies linking schizotypy, UHR, and conversion to psychosis has only recently emerged; and it still remains unclear how schizotypy may be positioned in high-risk research. Following a comprehensive literature search, we review 18 prospective studies on 15 samples examining the evidence for a link between trait schizotypy and conversion to psychosis in 4 different types of samples: general population, clinical risk samples according to UHR and/or basic symptom criteria, genetic (familial) risk, and clinical samples at-risk for a nonpsychotic schizophrenia-spectrum diagnosis. These prospective studies underline the value of schizotypy in high-risk research, but also point to the lack of evidence needed to better define the position of the construct of schizotypy within a developmental psychopathology perspective of emerging psychosis and schizophrenia-spectrum disorders

Talking About Climate Change: The Ecological Crisis and Narrative Form

This article examines the issue of climate change in the context of ecocriticism. It analyzes some of the narrative forms employed in the mediation of climate change science, focusing on those used by mediators who are not themselves scientists in the transmission of scientific information to a nonspecialist readership or audience. It reviews four relevant works that combine the communication of scientific theories and facts with pedagogical and motivational impulses. These include David Guggenheimer’s documentary film An Inconvenient Truth, Fred Pearce’s book The Last Generation: How Nature Will Take Her Revenge for Climate Change and the climate change manuals The Live Earth Global Warming Survival Handbook and How to Save the Climate.

Der mongolische Maskentanz (Tsam) in Vergangenheit und Gegenwart

Since the early 2000s the Mongolian Buddhist masked ritual dance, in the Khalkh-Mongolian language called Tsam, has been re-introduced to the Mongolian religious field. Nowadays a couple of Buddhist monasteries in Mongolia perform the Tsam once a year. This paper examines the Mongolian masked dance in its historical and contemporary aspects, with a special focus on the Khüree Tsam. It provides an overview of the Tibetan history of the masked ritual dance and its historical Mongolian developments, as well as an ethnographic study of the 2009 performance of the Khüree Tsam in Dashchoilin monastery of Ulaanbaatar. Whereas the historical part of this paper draws on Tibetan and Mongolian dance manuals and chronicles, the ethnographic part is methodologically based on participant observation, expert and semi-structured interviews. Finally, the paper discusses the changes and adaptations the Khüree Tsam underwent within and outside the monastic context in today’s Mongolia.

The Role of Artefacts in the Process of Replication

This paper investigates the role of artefacts for the replication or routines in organizations. Drawing on data of a large franchise organization in the UK, we show that actors' engagement with a portfolio of different primary (e.g. software, tools) and secondary (e.g. manuals) artefacts that are part of the business format, gives rise to five artefact enabled practices of replication (activity scoping, time patterning, practical enquiry, use in practice and contextual enquiry). Importantly, these practices of replication enable three different types of franchisee agency (iterational, practical evaluative and projective agency) that support but partly also challenge replication in terms of the similarity of organizational routines across units. Our findings have several theoretical contributions for the growing literature on replication as well as materiality and artefacts in organizations.

Darstellung und Bewertung neuropsychologischer Therapieverfahren am Beispiel PC-gestützter Trainingsprogramme – ein Projekt des Arbeitskreises Aufmerksamkeit und Gedächtnis der GNP

Die Mehrzahl PC-gestützter Trainingsprogramme erhebt den Anspruch einer theoriegeleiteten Konzeption und weckt entsprechend hohe Erwartungen. Wissenschaftliche Wirksamkeitsnachweise existieren nur für wenige Verfahren. Der Arbeitskreis Aufmerksamkeit & Gedächtnis der GNP präsentiert hier die Struktur einer Programmrezension, die eine übersichtliche Zusammenfassung und transparente Bewertung von Trainingsprogrammen unter Bezug auf insgesamt 20 neuropsychologische, technische und pragmatische Kriterien erlaubt. Schließlich beschreiben wir den Aufbau eines Manuals, das für alle Kriterien die qualitäts-bestimmenden Programmeigenschaften spezifiziert und durch die Erstellung einer Rezension führt; das komplette Manual ist in diesem Heft abgedruckt. Die mit dieser Zeitschrift begonnene Veröffentlichung von Beispielrezensionen wird in loser Folge fortgesetzt.

Room for Experiment: The Countess of Arundel’s "Site of Medication"

The so-called Dutch Pranketing Room of Alethea Talbot, Countess of Arundel, at Tart Hall was a site of domestic experiments, courtly splendour and global ambition. Lady Arundel, the probable author of a famous recipe book, would have used Tart Hall for cooking and experiments as well as for impressive dinner parties, and she would have used large amounts of sugar to create intricate imitations of meat and vegetables to astonish, entertain and delight her guests. Linking household practice with global trade as well as artistic creation, Lady Arundel’s banquets are situated not only between a national tradition of cooking, as it appears in Markham’s manuals, and the new possibilities the arising global trade provided, but also played with a mismatch between taste and sight. This mediating role could be compared to that played by the artists the Countess employed. Within this context it is worth noting that a series of paintings displayed in the building’s gallery showed still lifes, markets, and a cook. The inventory of Tart Hall gives an insight into the world of the widely travelled collector and patron of Van Dyck and Rubens, but raises also a number of questions. In my talk I would like to explore the Countess’ Pranketing Room as a site of mediation between alimentary and painterly experiments, considering the use of recipes, experience, invention and transformation