<p>To study and (1) to describe the history of the elderly offender who have committed an indictable offense in Canada (or felony in the U.S.A.) and who have used the insanity defense; (2) to begin to gather statistics on the prevelance of this group in the criminal justice system, and (3) to address the social policy issue of which system benefits from labelling the elderly offender mentally ill. In terms of the latter point, this work will attempt to show the consequences of the elderly offender being labelled insane. The aims of this study is to investigate "The Elderly offender and the Insanity Defense in Canada and the United States, implications for criminal law reform and mental health states (status) evaluation practice." This work follows the elderly offender and their processing, labelling, consequences of being reforms and future social policies affecting elderly offenders aged 55 and over. The results show that the elderly offender is subject to a "ping-pong" scenario via the criminal justice system to mental health institutions to nursing homes, general hospital, or community group homes to the street where a small percentage recidivate activating another "ping-pong" scenario.</p> / Bachelor of Arts (BA)

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This cultural history study examined Atlanta’s Neighborhood Arts Center (NAC), which existed from 1975 to 1990, as an example of black cultural politics in the South. As a Black Arts Movement (BAM) institution, this regional expression has been missing from academic discussions of the period. The study investigated the multidisciplinary programming that was created to fulfill its motto of “Art for People’s Sake.” The five themes developed from the program research included: 1) the NAC represented the juxtaposition between the individual and the community, local and national; 2) the NAC reached out and extended the arts to the masses, rather than just focusing on the black middle class and white supporters; 3) the NAC was distinctive in space and location; 4) the NAC seemed to provide more opportunities for women artists than traditional BAM organizations; and 5) the NAC had a specific mission to elevate the social and political consciousness of black people. In addition to placing the Neighborhood Arts Center among the regional branches of the BAM family tree, using the programmatic findings, this research analyzed three themes found to be present in the black cultural politics of Atlanta which made for the center’s unique grassroots contributions to the movement. The themes centered on a history of politics, racial issues, and class dynamics. The research offers an alternative to the claim that southern expressions of this movement were generated solely by the historically black colleges and universities of their cities. The study’s findings demonstrate that the Neighborhood Arts Center was a grassroots. multidisciplinary entity for black aesthetics and black cultural nationalism. The findings also suggest that the Neighborhood Arts Center perpetuated the Black Arts Movement through the 1980s. Lastly, the study offers insight on the movement’s transition and legacies.

The Master of Creative Arts Research investigates cross-cultural interactions with Vanuatu between 2003 and 2008. Several fieldtrips to the island of Efate the main island, site of the capital Port Vila enabled meetings with the visual art milieu of craftspeople, artists, the Vanuatu Cultural Centre and Museum, the two Art Foundations Michoutouchkine and Susanne Bastien, as well as commercial outlets. It confirmed my interest in setting up conversations between my own art practice in Australia with individual artists in Vanuatu through two conferences, firstly the Pacific Arts Association IXth International Symposium Musée du quay Branly in 2007 in Paris and secondly, the Pacific International Museum Association in Port Vila in 2008. My research, which includes two exhibitions, presents a working strategy based in artistic process for developing an on-going dialogue between artists from the Pacific and non-Indigenous Australian culture. Core concerns for island communities such those in Vanuatu include an understanding of the multiplicity within island cultures, a developing relationship between genders and a situation of constant change and development in relation to dominant external influences. 

My research built on insights from recent exhibitions by indigenous and non-indigenous artists and curators, which included work from, mixed cultural backgrounds such as Weaving the Murray (Art Gallery of South Australia and Prospect Gallery, Adelaide 2002), News from Islands (Campbelltown Art Centre 2007), and Woven forms (Object Gallery, Sydney and Form Gallery, Perth 2006).My collaborative research and exhibition document my encounter with two ni-Vanuatu artist/craftspeople Eric and Linda Natuoivi. Eric Natuoivi was already acknowledged as a leading Pacific artist through his involvement in the Asia Pacific Triennial of 1996, while his wife Linda is a highly regarded weaver within her community, but unknown outside Vanuatu. 
Key issues that emerge are the interactions between artists and between artists and audience; the power relations between cultures and institutions, and facilitating the needs of artists from very different cultural situations. The exhibition Encounters in Vanuatu (FCA gallery 2009) documents the processes of these interactions as well as presenting important examples of Eric and Linda Natuoivi’s works. My artwork, in the adaptation of plaited structures and photographs, reflects the transformation that occurred as a result of being a catalyst between two worlds. Digital images and short films address the complexities of reading artworks outside their context of production, and in the artificial reality of the gallery space. This essay proposes a model for cross cultural interaction and highlights the significance of artistic, intellectual and economic benefits for artists engaged in cross-cultural events.

The Master of Creative Arts Research investigates cross-cultural interactions with Vanuatu between 2003 and 2008. Several fieldtrips to the island of Efate the main island, site of the capital Port Vila enabled meetings with the visual art milieu of craftspeople, artists, the Vanuatu Cultural Centre and Museum, the two Art Foundations Michoutouchkine and Susanne Bastien, as well as commercial outlets. It confirmed my interest in setting up conversations between my own art practice in Australia with individual artists in Vanuatu through two conferences, firstly the Pacific Arts Association IXth International Symposium Musée du quay Branly in 2007 in Paris and secondly, the Pacific International Museum Association in Port Vila in 2008. My research, which includes two exhibitions, presents a working strategy based in artistic process for developing an on-going dialogue between artists from the Pacific and non-Indigenous Australian culture. Core concerns for island communities such those in Vanuatu include an understanding of the multiplicity within island cultures, a developing relationship between genders and a situation of constant change and development in relation to dominant external influences. 

My research built on insights from recent exhibitions by indigenous and non-indigenous artists and curators, which included work from, mixed cultural backgrounds such as Weaving the Murray (Art Gallery of South Australia and Prospect Gallery, Adelaide 2002), News from Islands (Campbelltown Art Centre 2007), and Woven forms (Object Gallery, Sydney and Form Gallery, Perth 2006).My collaborative research and exhibition document my encounter with two ni-Vanuatu artist/craftspeople Eric and Linda Natuoivi. Eric Natuoivi was already acknowledged as a leading Pacific artist through his involvement in the Asia Pacific Triennial of 1996, while his wife Linda is a highly regarded weaver within her community, but unknown outside Vanuatu. 
Key issues that emerge are the interactions between artists and between artists and audience; the power relations between cultures and institutions, and facilitating the needs of artists from very different cultural situations. The exhibition Encounters in Vanuatu (FCA gallery 2009) documents the processes of these interactions as well as presenting important examples of Eric and Linda Natuoivi’s works. My artwork, in the adaptation of plaited structures and photographs, reflects the transformation that occurred as a result of being a catalyst between two worlds. Digital images and short films address the complexities of reading artworks outside their context of production, and in the artificial reality of the gallery space. This essay proposes a model for cross cultural interaction and highlights the significance of artistic, intellectual and economic benefits for artists engaged in cross-cultural events.

Sample pages (1-35) of the author's 174 page thesis.

This study was conducted to determine the relationship between the characteristics of credit card holders and the extent of credit card usage, the level of credit card knowledge, and the consumer's choice perspectives. The characteristics of credit card holders studied were (a) gender, (b) age, (c) marital status, (d) education, (e) income, and (f) occupation. Data for this study were collected in Bangkok, Thailand by telephone interviews during July- August 1993. The sample consisted of 150 Bangkok Bank credit card holders. Chi-square and Cramer's V were used to analyze the hypotheses. For all statistical analyses the level of significance was set at .05. As a result of the 18 specific null hypothesis tests, only two independent variables were found to have a statistically significant relationship with the extent of credit card usage. The findings suggested a positive relationship between the extent of credit card usage and occupation and income. Respondents with higher occupational status and income tended to use credit cards to a greater extent than those with lower occupational status and income. Gender, age, marital status, and education were not related to the extent of credit card usage in this study. No significant differences were found among the demographic characteristics of credit card holders and the level of credit card knowledge, and consumer's choice perspectives. Gender, age, marital status. education, occupation, and income were not related to the level of credit card knowledge and the consumer's choice. The results revealed that most Thai credit card holders were not knowledgeable about credit card terms. They were clearly influenced by environmental stimuli, and the effects of society and group norms when they applied for a credit card. They generally chose a card with incomplete information about the alternatives.

This paper examines the structure, title, epigraph, and spiritual philosophy of Leo Tolstoy’s great novel, Anna Karenina. The intricate structure of the novel can leave more questions than it answers, and as the novel was written at such a critical, complex time of Tolstoy’s life, the ideas the characters struggle with in Anna Karenina are of both daily and cosmic importance. Considering influences and criticism of the novel, the method of Tolstoy’s vision of living well as shown in Anna Karenina leads to a very specific and intricate spiritual philosophy. It is also found that the novel’s structure and title are in conflict.