Background. As part of a longitudinal study, prevalence findings of DSM-IV disorders are presented for a random sample of 3021 respondents aged 14 to 24, with response rate 71%. Method. Assessment included various subtypes of disorders, subthreshold conditions and disorders that have only rarely been studied in other epidemiological surveys. The computer-assisted Munich-Composite International Diagnostic Interview (M-CIDI) was used to derive DSM-IV diagnoses. Results. Substance disorders were the most frequent (lifetime 17·7%; 12-month 11·4%), with abuse being considerably more frequent than dependence. Other mental disorders had a lifetime prevalence of 27·5% (12-month, 17·5%) with depressive disorders (16·8%) being more frequent than anxiety disorders (14·4%). Eating disorders (3·0%) and threshold somatoform disorders (1·2%) were rare disorders. Subthreshold anxiety and somatoform disorders, however, were more frequent than threshold disorders. Prevalence of disorders was equally high for males and females, although specific disorder prevalence varied significantly by gender. The co-occurrence of disorders (co-morbidity) was substantial and was significantly related to greater reductions in work productivity and increased rates of professional helpseeking behaviour. Conclusions. Findings underline that mental disorders in young adults are frequent and impairing, limiting work and education ability and social interaction. Given the fact that adolescents and young adults are in a key phase of socialization in terms of professional career and interpersonal relationships, our findings indicate a considerable risk potential for an accumulation of complicating factors and future chronicity. This paper is the first report of this ongoing longitudinal study about early developmental conditions of mental disorders.

This thesis provides a psychological insight of the protagonist in Patrick Süskind’s monodrama Der Kontrabass in order to reveal his suffering from a contemporarily increasing psychical disease. This mental illness is called “borderline personality disorder” (BPD). One theory concerning the causes of this disease locates its roots in societal changes. Therefore, the contemporary society is even labelled as “borderline-era” in Kreisman’s and Straus’ book I Hate You – Don’t Leave Me (1989). In terms of definition, I will explain the eight distinctive criteria, out oh which five have to be applicable on the respective person. This psychological work makes up one part of the theoretical basis for my interpretation and shows the up-to-datedness of the protagonist’s problems. Besides this approach, I will also refer to some of Sigmund Freud’s psychoanalytical theories, because the protagonist himself utters allusions to the oedipal complex and the human drives. In this respect, I will give a short summary of Freud’s descriptions of the relevant concepts. Here, the role of the instrument will be appreciated, as well, since the contrabass player refers to it as he would refer to an other human being. Thus, I will briefly point out the different ways, in which the contrabass is personificated by its owner. However, not only these aspects are interesting in order to achieve a convincing interpretation of the protagonist’s character. Therefore, the formal aspects of this play will be considered as well, since they contribute to the creation of its overall mood. This mood reflects the inner disruption of the tragicomic protagonist, since it is ambivalent as well. Concluding the interpretation, the different possibilities concerning the open ending will be discussed. Afterwards, I will give a short summary of my results and finish my thesis with suggestions for further research on Süskind’s Der Kontrabass.

This thesis provides a psychological insight of the protagonist in Patrick Süskind’s monodrama Der Kontrabass in order to reveal his suffering from a contemporarily increasing psychical disease. This mental illness is called “borderline personality disorder” (BPD). One theory concerning the causes of this disease locates its roots in societal changes. Therefore, the contemporary society is even labelled as “borderline-era” in Kreisman’s and Straus’ book I Hate You – Don’t Leave Me (1989). In terms of definition, I will explain the eight distinctive criteria, out oh which five have to be applicable on the respective person. This psychological work makes up one part of the theoretical basis for my interpretation and shows the up-to-datedness of the protagonist’s problems. Besides this approach, I will also refer to some of Sigmund Freud’s psychoanalytical theories, because the protagonist himself utters allusions to the oedipal complex and the human drives. In this respect, I will give a short summary of Freud’s descriptions of the relevant concepts. Here, the role of the instrument will be appreciated, as well, since the contrabass player refers to it as he would refer to an other human being. Thus, I will briefly point out the different ways, in which the contrabass is personificated by its owner. However, not only these aspects are interesting in order to achieve a convincing interpretation of the protagonist’s character. Therefore, the formal aspects of this play will be considered as well, since they contribute to the creation of its overall mood. This mood reflects the inner disruption of the tragicomic protagonist, since it is ambivalent as well. Concluding the interpretation, the different possibilities concerning the open ending will be discussed. Afterwards, I will give a short summary of my results and finish my thesis with suggestions for further research on Süskind’s Der Kontrabass.

Habilitationsschrift--Katholisch-Theologische Fakultät--Salzburg--Universität, 1999. / Bibliogr. p. XIX-LXXV.

Zugl.: Ludwigsburg, Pädag. Hochsch., Diss., 2009.

Giessen, Universität, Thesis (doctoral), 2001.

Thesis (doctoral)--Medizinische Hochschule, Hannover, 2000.

Aachen, Techn. Hochsch., Thesis (doctoral), 2002.

Zugl.: Bern, Univ., Diss., 2009

Darmstadt, Techn. Universiẗat, Diss., 2006.