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古巫在中國先秦社會與文化中具有重要的地位，本論文及透過對古巫作系統的考察， 旨在藉以了解古巫的特質及其對先秦文化的貢獻． 本論文以文獻資料分析為主，配合部分田野調查．所使用文獻資料主要為經書、子書 ，並及部分偽書與神話傳說資料；另亦參考近人及國外漢學家的相關論著，以了解其 研究方法． 故本論文參用多種理論與方法，除從歷史的觀點（宏觀）說明先秦巫者的基本觀念及 其在先秦歷史中的演變外，又以功能分析方法（微觀）分類說明先秦巫者的各項職能 及其貢獻；而為了彰顯中國巫的特質，也使用比較研究法，以古巫與今日大陸邊區民 族的薩滿及台灣的乩童略作比較，並使用外國人類學家研究各地區的巫所得結果加以 比較研究． 本論文共分六章，首章「導言」，說明研究動機、目的、範圍、方法、資料來源、前 人研究結果及研究內容等．第二章「先秦時代巫之基本觀念」，說明巫之字義、巫者 產生方式、條件及形象與特質等．第三章「先秦時代巫之流變及其主要活動範圍」， 說明古巫之源起及其在先秦時代的發展暨分化情形，並扼要敘述其活動範圍．第四章 「先秦時代巫之職能」，凡有祭祀、祈雨、卜筮、醫病、解夢及除災邪等．第五章「 巫與先秦文化之關係」，說明巫的地位，及其與宗教、科學、藝術、學術思想等的關 係．第六章「結論」，綜結各章所論，確定巫在先秦社會與文化中的重要性及其影響 ． 從本論文的研究結果，可知先秦巫者職能極多，在先秦社會上扮演一重要的角色，故 能創造及傳承古文化．其貢獻至大，影響亦極深遠，在中國古文化中確實佔有極其重 要的地位．

Thesis (M.Sc.)--Memorial University of Newfoundland, 1999. / Bibliography: leaves 124-132.

Thesis (M.A.)--Miami University, Dept. of History, 2005. / Title from first page of PDF document. Document formatted into pages; contains [7], 53 p. : ill. Includes bibliographical references (p. 49-53).

Ce travail explore la possibilité de passer d'un couple de modèles développés pour de petits bassin versant, à un modèle capable de simuler un bassin de plus grande superficie (« upscaling »). Il étudie en parallèle l'adaptation du couple de modèles ASPECTS / WiTCh à deux petits bassins versants à la géologie contrastée et le comportement hydrochimique du bassin supérieur de la Moselle. Le premier volet de ce travail est l'étude du couple de modèle ASPECTS / WiTCh et des adaptations à y faire pour pouvoir l'utiliser sur des sites contrastés des Vosges. Le premier site est situé sur les grès, le deuxième sur la partie granitique du massif. Le modèle s'est révélé capable de reproduire les débits journaliers ainsi que les concentrations moyennes observées dans les ruisseaux sur les deux sites, sauf pour quelques éléments sur granite. On a pu montrer que les variations saisonnières d'acidité de la rivière étaient très dépendantes du cycle de l'azote dans le modèle. Le second volet est l'étude des variations saisonnières de la composition chimique et isotopique de l'eau de la Moselle à un pas de temps de 2 semaines. Les valeurs enregistrées le long de la rivière confirment qu'il s'agit d'un mélange entre deux pôles chimiques et montrent que ses variations saisonnières sont principalement liées au débit. On pourrait modéliser le bassin par un modèle à deux couches, l'une profonde correspondant à l'étiage, l'autre superficielle correspondant aux crues. Les analyses isotopiques permettent de préciser les contributions relatives de ces deux couches lors de la fonte des neiges, mais nécessiteraient des mesures très précises de l'eau de pluie pour être utilisées lors des crues / This work investigates the possibility of using a pair of numerical models scaled for small watersheds to model greater scale basins (upscaling). It deals with two complementary approaches: the adaptation of the ASPECTS / WiTCh model pair to two small watersheds displaying contrasted geology and the study of the global behavior of the upper Moselle river basin. The first part of this project is the study of the ASPECTS / WiTCh model pair behavior and the adaptations it needs to produce satisfying results for two contrasted watershed in the Vosges mountains. The first site is located on the sandstones part of the mountain while the other one is on the granitic part. The model proved capable of predicting the daily water flows as well as the average annual concentrations measured in the streams on both sites but for a few elements on the granitic one. Seasonal variation in stream water acidity has been shown to be heavily contingent on the nitrogen cycle model. The second part of this project studies seasonal variations in the chemical and isotopic composition in the Moselle river on a two-week basis. Samples collected along the river confirm that the water composition is the product of two chemical poles mixing in and indicate that seasonal variations are mainly due to changes in the water flow. The basin could be represented by a two-layer model, the lower one for the low water periods, the upper one for the floods. Isotopic analysis let us characterize the relative contribution of these two layers during snow-melt but more precise rainwater data are needed for these samples to be used with flood analysis

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Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the contribution of the Australian witch and trance artist Rosaleen Norton (1917-1979) to the 20th century Western esoteric tradition. Norton’s artistic career began in the 1940s, with publication of some of her earliest occult drawings, and reached a significant milestone in 1952 when the controversial volume The Art of Rosaleen Norton – co-authored with her lover, the poet Gavin Greenlees – was released in Sydney, immediately attracting a charge of obscenity. Norton rapidly acquired a reputation as the wicked ‘Witch of Kings Cross’, was vilified by journalists during the 1950s and 1960s, and was branded by many as evil and demonic. Norton’s witchcraft coven was dedicated to the practice of heathen worship and ceremonial sex magic and attracted a small number of dedicated inner-circle followers, most notably the renowned musical conductor Sir Eugene Goossens (1893-1962), whose personal and professional career would be irrevocably damaged as a result of his contact with Norton’s magical group. Within the social context of post-World War Two Australia Norton was unquestionably an unconventional figure at a time when the local population was approximately 80 per cent Christian. Norton claimed to be an initiated follower of the Great God Pan and also revered other ancient figures, most notably Hecate, Lilith and Lucifer. Norton claimed to encounter these mythic beings as experientially real on the ‘inner planes’ which she accessed while in a state of self-induced trance. Many of her most significant artworks were based on these magical encounters. Norton is presented in this thesis as a magical practitioner and artist whose creative work and thought has made a substantial contribution to the 20th century Western esoteric tradition – and, in particular, to the magic of the so-called ‘left-hand path’, which is a significant part of this modern occult tradition. Norton’s artworks are also compared to those of the notable British trance artist and occultist Austin Osman Spare (1886-1956), who is now widely regarded as a major figure in the 20th century magical revival.

This essay examines how witches are portrayed in American produced TV-series in the year 2000 and forward, what elements could have effected that portrayal in the series and also how this portrayal differs itself from witches within Wicca. The material used for this examination are the TV-series Charmed, The Vampire Diaries and Witches of East End and as comparing literature; Living Wicca, The Spiral Dance and Witchcraft Today. The methods used for this process are discourse analysis and content analysis. I used theories of Pierre Wiktorin about religion and popular culture. I used three themes (Characteristics, Practice and mode of thinking) for the processing of the material and to structure the result. The results showed that the witches in the TV-series had a lot in common such as they were all women, they were born with their powers and the human life is sacred in comparison to other creatures that exist in the series. The comparison showed that there are significant differences between the witches in the TV-series and the witches in Wicca. Practicing witches within Wicca is part of a religion where rituals are of high importance and the Goddess and God are worshiped. These are the most important discrepancies that are not a part of witches in TV-series.  The question about why the series are so similar has been analyzed with theories about moral panic and post-feminism to show how social structures can play a part in how TV-series are written. The conclusions that I have reached is that the witches in the series are portrayed very similar. They are all women, they have inherited their abilities as witches and they keep searching for love and are in a constant battle with evil. Elements that could have effected this portrayal are the theories about moral panic, that discusses the fighting against evil, and postfeminism, that discusses the love aspect and the fact that they are all women.  The witches in the series and the witches within wicca are very different. The biggest one is the fact that wicca is a religion that involves rituals for the God and Goddess. This has no part of the portrayal of witches in the TV-series.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the contribution of the Australian witch and trance artist Rosaleen Norton (1917-1979) to the 20th century Western esoteric tradition. Norton’s artistic career began in the 1940s, with publication of some of her earliest occult drawings, and reached a significant milestone in 1952 when the controversial volume The Art of Rosaleen Norton – co-authored with her lover, the poet Gavin Greenlees – was released in Sydney, immediately attracting a charge of obscenity. Norton rapidly acquired a reputation as the wicked ‘Witch of Kings Cross’, was vilified by journalists during the 1950s and 1960s, and was branded by many as evil and demonic. Norton’s witchcraft coven was dedicated to the practice of heathen worship and ceremonial sex magic and attracted a small number of dedicated inner-circle followers, most notably the renowned musical conductor Sir Eugene Goossens (1893-1962), whose personal and professional career would be irrevocably damaged as a result of his contact with Norton’s magical group. Within the social context of post-World War Two Australia Norton was unquestionably an unconventional figure at a time when the local population was approximately 80 per cent Christian. Norton claimed to be an initiated follower of the Great God Pan and also revered other ancient figures, most notably Hecate, Lilith and Lucifer. Norton claimed to encounter these mythic beings as experientially real on the ‘inner planes’ which she accessed while in a state of self-induced trance. Many of her most significant artworks were based on these magical encounters. Norton is presented in this thesis as a magical practitioner and artist whose creative work and thought has made a substantial contribution to the 20th century Western esoteric tradition – and, in particular, to the magic of the so-called ‘left-hand path’, which is a significant part of this modern occult tradition. Norton’s artworks are also compared to those of the notable British trance artist and occultist Austin Osman Spare (1886-1956), who is now widely regarded as a major figure in the 20th century magical revival.