The Abuse Disability Questionnaire: Internal Consistency and Validity Considerations in Two Samples

Comparative psychometric information on the Abuse Disability Questionnaire (ADQ), given to women who were receiving services from domestic violence shelters, was presented. The total score of the ADQ and its subscale scores for Relationship Disability, Life Restriction, Psychological Dysfunction, and Health Status Issues demonstrated adequate internal consistency across two shelter samples. Further construct validation was evidenced by the relationship found between self-esteem and impairment, and also between prior abuse and impairment. Additional research to establish the utility of the Abuse Disability Questionnaire as a research and/or clinical instrument was proposed.     

Barriers Inhibiting Industry from Partnering with Universities: Evidence from the Advanced Technology Program

This paper describes a small, unique set of project data that was assembled as part of a larger study on universities as research partners. Herein, we summarize, to the extent possible, our interpretation of what the project data reveal about barriers, intellectual property (IP) concerns in particular, inhibiting industry from partnering with universities.     

Art,Cold War Diplomacy and Commonwealth: Australian and Canadian Art at the Tate Gallery 1962–1964

This article analyses the formation, presentation and reception of two seminal exhibitions: Australian Painting: Colonial, Impressionist, Contemporary (1962–1963) and Canadian Painting 1939–1963 (1964). The presentation of these exhibitions at London’s Tate Gallery reflected the institution’s support for “old dominion” Commonwealth members. The exhibitions also highlight the differing visions of the Canadian and Australian governments concerning the relationship between art, diplomacy and politics during the Cold War. In Canada, Vincent Massey (Governor General 1952–1959) played a key role in ensuring that all forms of Canadian art were promoted internationally. Massey wanted to connect with the European and American avant-garde and to be part of a multiracial Commonwealth. This contrasted with the rather “old-fashioned” views of the Australian prime minister, Robert Menzies, and the Commonwealth Art Advisory Board. They supported a Commonwealth dominated by the “white dominions” and the initial exhibition plan for Australian Painting recalled previous British Empire art shows. The British response to the Canadian and Australian exhibitions is also discussed. British critics preferred the nationally identifiable “exotic” art found in Australian art to the transnational forms of international abstraction in Canadian art. Eventually, Australia “caught up” with Canadian cultural policy following the establishment of the Australia Council.