Stigmatization requires adequate measurement. Our systematic review synthesizes the content of scales used with children andĪdolescents in low- and middle-income countries (LMICs) across stigmas, and examines their comparability and level of cultural Ten databases were systematically searched combining three sets of search terms: (i) stigma, (ii) scales, and (iii) LMICs. Studies conducted in LMICs, with a sample with mean age below 18 and reporting a minimum of one stigma scale, were eligible. We allocated scale items to four frameworks: (i) dimensions, or drivers of stigmatization (ii) target variants, or types Of stigmatization (iii) socio-ecological levels, and (iv) cross-cultural equivalence, or scale adaptation to context/population.īased on percentages, we compared scale content per age cohort, stigma status, region, and stigma category. Out of 14,348 records, we included 93 articles (112 scales). Most studies focused on adolescents (12–18 years). Were used more than once, seven were used across regions, and four were employed for multiple stigmas. ![]() ![]() Physical health stigma,Īnd HIV/AIDS-related stigma in particular, was measured most mental health and multiple/generic stigmas least. Mental health scales were generally more comprehensive, i.e., measuring more stigma facets. Measured two of the 21 included stigma facets, namely the disruptiveness dimension and the community level. Still, to understand the meaning of this final scene, it is necessary to refer to the whole play and to the character’s relations with the man who learned Li’l Bit to drive. ![]() In this context, the idea of driving also receives the features of an amoral activity which has the unhidden sexual meaning. Thus, the ending of Vogel’s play can be interpreted from many perspectives, including the context of choosing driving as a substitutional factor, as a rescue from perverting relationships, and as a choice of control in the personal life. In order to interpret the ending of Vogel’s play and draw conclusions about the whole work, it is necessary to concentrate on feelings affected by the play and on the revealed emotions. It is important to concentrate on the playwright’s style and tone because the focus on metaphors and naturalism at the same time can provoke misunderstanding. Still, the metaphor of driving becomes clear from the first minutes, and it is the first step to come to conclusions. Vogel writes simple dialogues which sound naturally, but the unique structure of her play is used to provide the additional meaning to some actions and words.
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