Emotional habituation to filmed violence employing the startle probe response

This thesis reports on research examining the habituation of emotional variables to filmed violence. The following subjective emotional variables were assessed: positive feelings, anxiety, disgust, entertainment and anger. In addition, an objective measure of emotional response was recorded physiologically, using the startle eyeblink response. The mediating influence of personality, individual differences and contextual features on an individuals’ perception of and reaction to filmed violence were also explored. Study one was exploratory in nature served to identify and select the film stimuli to be employed in the subsequent studies. The primary aim of the study was to allow for the identification of violent stimuli considered to be most socially and culturally relevant. The present research builds on existing scientific literature which has began to appreciate that differences in the context of a portrayal holds important implications for its impact on viewers. Thus, a secondary and more specific desire of study one was to obtain an evaluation of the contextual features of the violent film segments. A sample of 30 participants viewed and rated the film stimuli on the variables of realism, fantasy and violence. From this exploratory study four violent film stimuli were subsequently employed. Study 2 used the eyeblink startle response proposed by Vrana, Spence and Lang (1988) to explore the habituation of emotional variables to a realistic depiction of filmed violence. Emotional response was assessed both objectively, using the eyeblink startle response and subjectively through individuals self-reports. In addition the study investigated the significance of individual differences as mediators of emotional response. Questionnaire and physiological data were obtained from 30 participants. Overall, repeated exposure to filmed violence resulted in a decline in both objective and subjective emotional response. Differences were identified in the manner in which men and women responded to the film. Women reacted initially and over time with more intense physiological and psychological reactions to the violent film than males. Specifically, men displayed more curiosity and reported greater entertainment and positive feelings in response to the film, whilst women found the violence more disgusting and reported higher levels of anger and anxiety. It was found that the eyeblink startle magnitude paralleled the subjective emotional processing of the violent film, thus providing further confirmatory evidence of its validity in the investigation of emotional reactions to a stimulus. Personality factors were found to mediate emotional response to filmed violence, with neuroticism most powerfully implicated. High levels of neuroticism were found to be associated with greater anger and anxiety and less positive feelings whilst viewing violent film. A high score on extraversion was correlated with higher levels of anger and lower levels of curiosity and entertainment. Whilst the aims of study 3 were identical to that of study 2, a variation in the contextual feature of the violent film stimuli under investigation was the distinguishing and pertinent feature. Study 2 provided data on the habituation of emotional response to a realistic depiction of filmed violence. Study 3 was concerned with emotional response over repeated exposure to a fantasized violent depiction. Therefore, allowing for a comparison regarding the effects of context on emotional response. The results of study 3, with respect to habituation of emotional response, personality and individual differences, were similar to that obtained in study 2. A comparison of the two studies, however, revealed that individuals responded significantly different to the contextual features of the violent portrayal. Compared to the fantasised portrayal the realistic film stimulus was reported to be more digusting, anxiety provoking and less entertaining. In addition, and not surprisingly respondents reported that the realistic portrayal resulted in the production of more anger and less positive feelings.

Lie symmetries of partial differential equations using symbolic computing

This study presents a theoretical basis for and outlines the method of finding the Lie point symmetries of systems of partial differential equations. It seeks to determine which of five computer algebra packages is best at finding these symmetries. The chosen packages are LIEPDE and DIMSYM for REDUCE, LIE and BIGLIE for MUMATH, DESOLV for MAPLE, and MATHLIE for MATHEMATICA. This work concludes that while all of the computer packages are useful, DESOLV appears to be the most successful system at determining the complete set of Lie symmetries. Also, the study describes REDUCEVAR, a new package for MAPLE, that reduces the number of independent variables in systems of partial differential equations, using particular Lie point symmetries. It outlines the results of some testing carried out on this package. It concludes that REDUCEVAR is a very useful tool in performing the reduction of independent variables according to Lie's theory and is highly accurate in identifying cases where the symmetries are not suitable for finding S/G equations.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

The Carey 'king hit' : journalists and the coverage of domestic violence

In recent years Australia’s football codes have been rocked by allegations that star players, both past and present, have acted inappropriately off-field. In some instances these allegations have involved violence towards partners. This paper explores one such case, involving former AFL great Wayne Carey. In so doing, it explores the so-called ‘cult of celebrity’ and the impact this has both on the players and the media who cover such stories. People caught up in traumatic situations labelled as domestic violence have been vulnerable to media misunderstanding and misinterpretation. Coverage of these events and issues surrounding such violence has undergone change in line with social change. Work by community groups has produced calls for further shifts in thinking and suggestions for a name change to family violence. The so‑called ‘Wayne Carey Affair’ has demonstrated that journalists have their own vulnerabilities to the cult of celebrity, with extended interviews and coverage often centred on possible explanations/ “excuses” for the behaviour patterns of this one individual avoiding the wider social policy implications. By examining coverage surrounding Wayne Carey, this paper will explore the issues surrounding this major social problem and will question the role of journalists vis a vis the particularly vulnerable individuals caught up in family violence.

Viewer characteristics, film context and habituation/desensitisation to filmed violence

This thesis comprises three studies aimed at examining viewers' responses to filmed violence. The first focused on habituation, the second desensitisation and the third compared the paradigms. Results indicated that several factors influence how an individual responds to filmed violence and provide some insight into the impact of repetitive exposure to media violence. The portfolio presents four case studies emphasising the difficulties for assessing risk and associated interventions in the client population of individuals found not guilty because of mental impairment. This as an area of fundamental discord between psychology and law.

Perceptions and personality : a viewer-centred approach to film violence research

This thesis took a viewer-centred approach to the study of media violence. The findings indicated that viewer perceptions and personality mediate the affective, cognitive and arousal responses of viewers. The importance of the viewer perception and personality examined in this thesis also differed as a function of gender and age. The portfolio focused on the current Victorian correctional system's response to, and attempts to rehabilitate, convicted sexual offenders. It presents four case studies to demonstrate how the Victorian Sexual Offender Treatment Program attempts to apply empirically validated "best practice" principles of offender rehabilitation.

Professionals' attributions and referral decisions in cases of domestic violence

This thesis is the first national study of workers who have contact with victims and perpetrators of domestic violence. It highlights that the victim and perpetrator's gender, as well as the relevant professional's agency type and experience, all influenced their attitudes to, and service delivery decisions with, domestic violence-related clients. The portfolio utilises four case studies to examine the way that two Victorian sex offender programs attempt to balance risk-need and good lives principles in the assessment and treatment of sex offenders.

Men's accounts of domestic violence

Domestic violence against men by their female partners is a much neglected area of attention. Sufficient data has emerged recently to suggest men suffer domestic violence more than previously acknowledged. The findings were that, overall, the men were hurt more by the emotional aspects than any physical violence. They found no dedicated support systems for male domestic violence victims.

Symbolic computation and perfect fluids in general relativity

Focuses on two areas within the field of general relativity. Firstly, the history and implications of the long-standing conjecture that general relativistic, shear-free perfect fluids which obey a barotropic equation of state p = p(w) such that w + p = 0, are either non-expanding or non-rotating. Secondly the application of the computer algebra system Maple to the area of tetrad formalisms in general relativity.

Islam and political violence : Muslim diaspora and radicalism in the West

How do we engage with the pressing challenges of xenophobia, radicalism and security in the age of the "war on terror"? The widely felt sense of insecurity in the West is shared by Muslims both within and outside Western societies. Growing Islamic militancy and resulting increased security measures by Western powers have contributed to a pervasive sense among Muslims of being under attack (both physically and culturally). Islam and Political Violence brings together the current debate on the uneasy and potentially mutually destructive relationship between the Muslim world and the West and argues we are on a dangerous trajectory, strengthening dichotomous notions of the divide between the West and the Muslim world.