Adjustment Correlates of Social Media Engagement Among Early Adolescents

Journal of Youth and Adolescence - Social media engagement is common among adolescents, yet not all adolescents use social media in the same ways or experience the same adjustment correlates. This...     

Adolescent suicide myths in the United States

In the United States, teen suicide rates tripled over several decades, but have declined slightly since the mid-1990s. Suicide, by its nature, is a complex problem. Many myths have developed about individuals who complete suicide, suicide risk factors, current prevention programs, and the treatment of at-risk youth. The purpose of this article is to address these myths, to separate fact from fiction, and offer recommendations for future suicide prevention programs. Myth #1: Suicide attempters and completers are similar Myth #2: Current prevention programs work. Myth #3: Teenagers have the highest suicide rate. Myth #4: Suicide is caused by family and social stress. Myth #5: Suicide is not inherited genetically. Myth #6: Teen suicide represents treatment failure. Psychiatric illnesses are often viewed differently from other medical problems. Research should precede any public health effort, so that suicide prevention programs can be designed, implemented, and evaluated appropriately. Too often suicide prevention programs do not use evidence-based research or practice methodologies. More funding is warranted to continue evidence-based studies. We propose that suicide be studied like any medical illness, and that future prevention efforts are evidence-based, with appropriate outcome measures.     

Quality of Laypersons' Assessment of Forensically Relevant Stimuli,

The current study examined the potential for cognitive bias in lay examiners' comparisons of footwear impressions within the technical review process while addressing limitations of previous research. Prior research has found inconsistent results regarding the extent to which cognitive bias may influence forensic comparisons, often asking non-experts to review forensic stimuli above their competency level. Furthermore, past research has largely ignored the potential for cognitive bias during the technical review process. In collaboration with the Miami-Dade Police Department's Forensic Services Bureau, we examined the effects of previous examiners' level of experience and prior knowledge of the previous examiner's decision on the technical review stage of footwear impression stimuli. Before lay examiners were presented with pairs of known match and nonmatch footwear impressions, they were either told that an expert or a novice had previously examined them and determined them to be either a match, nonmatch, or inconclusive (plus a no-information condition). Participants then evaluated each pair of footwear impressions to make their own determinations of match, nonmatch, or inconclusive. Results support the technical review process for all decision types, as known nonmatch stimuli were generally more difficult for lay examiners to assess than known match stimuli. Knowledge of a prior examiner's decision and status was observed only when the prior decision was inconclusive, suggesting the need for inclusion of inconclusive decisions in future research examining cognitive bias in forensic examination.     

Mythical enjambment in The Hungry Woman: nation,desire, and Cherríe Moraga’s utopic turn

In her play The Hungry Woman: A Mexican Medea (2001), Cherríe Moraga makes use of a technique I call “mythical enjambment”: the insertion of a myth, story, or cultural context into another where it “doesn’t belong,” a willful act of making the unexpected out of the expected. Moraga utilizes mythical enjambment to illuminate how mythologies become entrenched and perpetuate harmful ideologies. Interrupting the traditional aesthetics of Western theater by drawing attention to the ways queer women of color are erased from the narrative, Moraga also challenges the absence of queer women of color from the Chicano movement by embedding her play within some of the most dearly held myths of Chicana/o culture. Ultimately, the use of mythical enjambment gestures toward the utopic and revolutionary potential of theater. The Hungry Woman shatters myths on multiple, intersectional levels: from the critical gaze of interpretive authority to the myths that cohere Chicana/o identity along masculinist and heterosexist lines.