BackgroundThe risk of child sexual abuse among non-forensic, non-correctional patients with Pedophilic Disorder is largely unknown.MethodsWe recruited a consecutive sample of 55 help-seeking, non-correctional adult men diagnosed with DSM-5 PD at a university-affiliated sexual medicine outpatient unit in Sweden. PD participants were compared with 57 age-matched, non-clinical control men on four literature-based dynamic risk domains and self-rated child sexual abuse risk.ResultsPD participants scored higher than controls on all tested domains ; expectedly so for pedophilic attraction : [1.91–2.89]), but also for (...) sexual preoccupation, impaired self-regulation, impaired cognitive empathy and antisocial traits, and self-rated child sexual abuse risk. When summarizing all five domains into a pre-specified composite score, PD subjects scored substantially higher than matched control men. Five PD participants self-reported any previous conviction for a contact child sexual offense and eight for possession of child sexual abuse material or non-contact sexual offending. Eighteen subjects acknowledged past week, child-related sexual behaviors.ConclusionSelf-referred, help-seeking men with PD scored higher than non-clinical control men on psychiatric measures of dynamic risk of child sexual abuse suggested in prior research with correctional samples diagnosed with PD. Our findings, including the composite risk measure, might inform clinical practice, but needs validation against actual sexual offending behavior. (shrink)

This paper examines the relationship between medical technology and liminal states of “undeath” as presented in “The Facts in the Case of M. Valdemar” and the real-life case of Jahi McMath, who was maintained on life support for over four years following a diagnosis of brain death. Through this juxtaposition, “Valdemar” comes to function as a modern fable, an uneasy herald of medical technology’s potential to create liminal states between life and death. The ability to transgress these boundaries (...) bears a cost, however: both Valdemar and Jahi McMath lose the autonomy to direct their respective narratives. Yet, their utterances “from beyond the grave” highlight the precarious nature of their position and the ethical concerns therein. Poe’s literary performance of “undeath” therefore serves to caution real-life cases in which life support is used to sustain an individual reported to be brain-dead. Such application of life-sustaining technology complicates the fundamental binary of life/death, allowing its subjects to resist textual closure. Even as Poe’s work represents an imaginative interrogation of the scientific enterprise, this nineteenth-century story holds a mirror to contemporary medical practice, inviting a reconsideration of the ethics, language, and power relations surrounding the fraught relationship between death and medical technology. (shrink)

Edgar Allan Poe’s eerie short story “The Facts in the Case of M. Valdemar” is a particularly noteworthy example of the sublime, a psychological state in which one is overwhelmed by the magnitude of that which is perceived by the mind. Valdemar exemplifies the sublime in that his death has somehow been suspended in time because he was under hypnosis as part of a medical experiment at the moment of his passing. However, the story also draws particular attention (...) to the means by which insight into the nature of death is acquired by the hypnotist who narrates the story. For a more comprehensive understanding of the sublime experience, one may turn to the psychoanalytic theory of Jacques Lacan and the postmodernist work of Slavoj Žižek, which lead to the conclusion that the dramatic chain of events in “Valdemar” is an example of the sliding signifier, and, moreover, that the instability of the signifier may explain the sublime effect. (shrink)

In the 1790s, the Danish publicity abounded with debate about freedom, republican ideas, and the Danish monarchy. This debate did not express itself as much in critique of the Crown as in terms of discursive attempts to reconcile republican ideas with the Danish absolute monarchy. In this article, it is argued that contemporary literature was an important instrument for carrying out such considerations. The article examines the use of the Danish medieval freedom fighter Niels Ebbesen to discuss the conditions of (...) freedom under absolute rule in two pieces of literature. The article argues that Bruun’s ode “Niels Ebbesen. Tyrandræberen” (1797) dismisses the possibility of freedom under monarchy and suggests that the ode’s medievalism might have been a contributing factor in preventing legal proceedings against it (unlike other of Bruun’s state critical literature). It further argues that Sander’s drama Niels Ebbesen of Nörreriis (1797) uses medieval history to represent an ideal form of government which unites conditions for republican freedom with Danish monarchy. The overall argument is, then, that the two pieces of literature serve to unfold political considerations pertinent to the contemporary society. (shrink)

In his historical novel from 1835, Prince Otto of Denmark and his Time, the poet Bernhard Severin Ingemann (1789-1862) established the unknown, yet historical character, Prince Otto of Denmark (1310-1346) as the hero of the novel. This choice has puzzled critics ever since, due to the fact that Prince Otto seems less a potential king than his brother Valdemar IV (1320-1372) who actually became a king of Denmark. Georg Brandes (1842-1927) claimed that Otto mirrored Ingemann’s persona as weak and (...) feminine, a “monk” not suited for kingship. In his ridicule of Prince Otto and Ingemann, Brandes reveals his ideas about gender, masculinity and femininity, but as this article seeks to show, such ideas are tied to time and place. Read from the distance of 2019, Ingemann’s feminine medieval hero might seem more modern and progressive than Brandes would have him. In this sense, the article is a piece of “queer medievalism”. (shrink)

In this paper I propose that, since the mid-eighteenth century medical science has simultaneously generated and disavowed ‘undead’ bodies, suspended between life and death. Through close analysis of three examples of ‘undeath’ taken from different moments in medical history, I consider what these bodies can tell us about medicine, its history, cultural meaning, scientific status and its role in shaping ideas of embodiment, identity and death. My first example is Edgar Allan Poe’s story ‘The facts in the case of M. (...) Valdemar’ which imagines the possibility of a man mesmerised at the point of death. I read this story as a response to the rise of professional, scientific medicine in the 1840s. I then look at the recurring issue of brain death in order to consider tensions within twentieth-century medical hegemony. Finally I read the Alder Hey scandal as a reactivation of undead anxiety in response to the emergent culture of medical consumerism at the end of the twentieth century. (shrink)