In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness. / Master of Visual Arts

Community concern about sexual offending places continued pressure on correctional services to refine treatment and reduce re-offending. While cognitive processes have been identified as a key element in the development and maintenance of sexual offending, more research on the precise nature of these processes is required. The current study, based on Ward and Siegert’s Pathways Model, involved 100 male offenders of various types: 25 intra – familial sex offenders against children, 25 extra-familial sex offenders against children, 25 sex offenders who chose adult victims, and 25 convicted of non-sexual offences. There was also a control group of 25 non-offenders. The quantitative data, derived from a series of questionnaires concerning childhood and sexual experiences, provided evidence that the two types of child sex offender differed from the other groups with respect to their expectations of sexual behaviour among children, their experience of sexual abuse and neglect as children themselves, and, paradoxically, their current high self-esteem. In addition, scripts relating to hypothetical consenting adult sexual relations and sexual contact with a child were collected from the 50 sex offenders against children. The script content suggested that, compared with intra - familial offenders, extra-familial offenders had notably unrealistic, naïve and romanticised scripts for adult relationships and more sophisticated scripts for offences against children. The latter suggested that scripts might serve as a mediating function in offending behaviour and that offenders acquired a degree of task domain expertise. Despite some inherent problems undertaking research with the sex-offender population, the findings confirmed that sex-offenders do not constitute a homogenous group and that the pathways model offers a unique perspective on how males become and develop their capacity as sex-offenders, how they sustain a positive view of themselves, and how they continue to commit offences. Finally, the model was considered in terms of its capacity to suggest ways to better target treatment efforts to specific groups of sexual offenders to further reduce their rate of recidivism / Doctor of Psychology (Clinical)

This exegesis explores the sacred, holy and commercial aspects of spring water as revealed by an exploration of the relationships of Indigenous Australians and non–Indigenous European Australians to spring water. As a non–Indigenous Australian migrant, my knowledge of Indigenous Australian spiritual and cultural matters was limited, as was knowledge of Indigenous Australian history, both pre- and post-European settlement. As a migrant, I have many memories and experiences of spring water at European wells, springs and places of pilgrimage where healing, both physical and spiritual was sought. In childhood, I enjoyed reading the many myths and legends that surround the magical, mysterious and often invisible resource of spring water. Realising that my current knowledge of spring water relied more on folklore and anecdotal information than on fact, I decided that the topic of spring water offered worthwhile opportunities for research. [...] The availability of spring water is being challenged on more than one front. This research explores and investigates the abundance of (particularly) art references to spring water in Indigenous Australian culture and traditions, while noting the dearth of art references relating specifically to spring water in non-Indigenous Australian culture; although an abundance of art references to water in general is revealed. In the latter context, references to art depicting aspects of the hydrologic cycle have been substituted and explored. / Master of Arts

Whilst the notion of the ‘Reflective Space’ could arguably encompass many conceptual positions and propositions, for the purposes of this research investigation the ‘Reflective Space’ referred to in the title of this exegesis will focus upon what I consider as an emerging and growing consciousness of the natural world. As a theoretical and conceptual construct, the investigation considers how this growing consciousness can be seen to be expressed through the medium of representations of the Australian landscape. This work considers a number of contemporary theoretical positions and a number of relevant social and political questions; it also acknowledges that within such spheres of reflection, the issue of being sustainable in relation to our interactions and perceptions of this natural world looms as perhaps one of the most pressing of our time. While it will be acknowledged that the depiction of landscape enjoys a long-standing tradition within the Australian cultural mind, the suggestion will be made that certain aspects of these visualisations can be seen to be ‘reflective’ of a visual, cultural and physical degradation, and indeed even an apprehension of the physical ‘space’ that is represented as landscape. The investigation considers and reflects upon what can be observed as contentious and ambivalent attitudes expressed towards landscape perceived through works of art. Strategies for adopting a perceptual visual ethic grounded within the concepts and principles of sustainability will be presented for consideration. By applying such modes of interpretation to perceptions of land and landscape depiction, new appreciations for the cultural ‘space’ that is landscape will be developed. Such understandings will consider and reflect upon the temporal nature of our natural world. The thesis is this: that to be able to think and act in a sustainable fashion in relation to our environment, our perceptions and interpretations of visualisations of landscape must include a recognition that the land is a ‘temporal’ space, in which past and possible futures are immanent in the present. / PhD (Visual Arts)

This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.

xiii, 193 leaves : ill. ; 28 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (M.D.S. 1973) from the Dept. of Oral Biology, University of Adelaide

vii, 476 leaves : tables ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--Dept. of Politics, University of Adelaide, 1979

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