This thesis examines the witch imagery used during the nineteenth century in children’s literature, realist and gothic fiction, poetry and art, and by practitioners and critics of mesmerism, spiritualism and alternative spirituality. The thesis is based on close readings of nineteenth-century texts and detailed analysis of artwork, but also takes a long view of nineteenth-century witch imagery in relation to that of preceding and succeeding periods. I explore the means by which the image of the witch was introduced as an overt or covert figure into the work of nineteenth-century writers and artists during a period when the majority of literate people no longer believed in the existence of witchcraft; and I investigate the relationship between the metaphorical witch and the areas of social dissonance which she is used to symbolise. I demonstrate that the diversity of nineteenth-century witch imagery is very wide, but that there is a tendency for positive images to increase as the century progresses. Thereby the limited iconography of malevolent witches and powerless victims of witch-hunts, promulgated by seventeenth-century witch-hunters and eighteenth-century rationalist philosophers respectively, were joined by wise-women, fairy godmothers, sorceresses, and mythical immortals, all of whom were defined, directly or indirectly, as witches. Nonetheless I also reveal that every image of the witch I examine has a dark shadow, despite or because of the empathy between witch and creator which is evident in many of the works I have studied. In the Introduction I acknowledge the validity of theories put forward by historians regarding the influence of societal changes on the decline of witchcraft belief, but I argue that those changes also created the need for metaphorical witchery to address the anxieties created by those changes. I contend that the complexity of social change occurring during and prior to the nineteenth century resulted in an increase in the diversification of witch imagery. I argue that the use of diverse images in various cultural forms was facilitated by the growth of liberal individualism which allowed each writer or artist to articulate specific concerns through discrete images of the witch which were no longer coloured solely by the dictates of superstition or rationalism. I look at the peculiar ability of the witch as a symbolic outcast from society to view that society from an external perspective and to use the voice of the exile to say the unsayable. I also use definitions garnered from a wide spectrum of sources from cultural history to folklore and neo-paganism to justify my broad definition of the word ‘witch’. In Chapter One I explore children’s literature, on the assumption that images absorbed during childhood would influence both the conscious and unconscious witch imagery produced by the adult imagination. I find the templates for familiar imagery in collections of folklore and, primarily, in translations of ‘traditional’ fairy tales sanitised for the nursery by collectors such as Perrault and the Brothers Grimm. I then examine fantasies created for Victorian children by authors such as Mary de Morgan, William Makepeace Thackeray, George MacDonald and Charles Kingsley, where the image of witch and fairy godmother is conflated in fiction which elevates the didactic fairy tale to a level which in some cases is imbued with a neo-platonic religiosity, thereby transforming the witch into a powerful portal to the divine. In contrast the canonical novelists whose work I examine in Chapter Two generally project witch imagery obliquely onto foolish, misguided, doomed or defiant women whose witchery is both allusionary and illusionary. I begin with the work of Sir Walter Scott whose bad or sad witches touch his novels with the supernatural while he denies their magic. Scott’s witch imagery, like that of Perrault and Grimm, is reflected in the witches who represent women’s exclusion from autonomy, education and/or the literary establishment in the works of Charlotte and Emily Brontë, Elizabeth Gaskell and George Eliot. Traditional fairy-tale imagery is particularly evident in Charles Dickens’ use of the witch to represent negative aspects in the development of society or the individual. In contrast Scott’s impulse to distance himself from the pre-urban world represented by his witches contrasts with Thomas Hardy’s mourning of the female earth spirits of Wessex, thereby linking fluctuating and evolving images of nature with images of the nineteenth-century witch. In Chapter Three I explore poetry and art through Romantic verse, Tennyson’s Camelot, Rossetti and Burne-Jones’ Pre-Raphaelite classicism, Rosamund Marriot Watson and Mary Coleridge’s shape-shifting, mirrored women, and Yeats’ Celtic Twilight: in doing so I find representations of the witch as the destructive seductress, the muse, the dark ‘other’ of the suppressed poet, the symbol of spellbinding amoral nature, and the embodiment of the Celtic soul. In the final chapter witch imagery is attached to actual practitioners of so-called ‘New Witchcraft’, yet they also become part of a story which seeks to equate neo/quasi science with the supernatural. I demonstrate a gender realignment of occult power as the submissive mesmerist’s tool evolves into the powerful mother/priestess. I note the interconnectedness of fiction and fact via the novels of authors such as Wilkie Collins and Edward Bulwer-Lytton; and identify the role of the campaigning godmother figure as a precursor of the radical feminist Wiccan. I believe that my thesis offers a uniquely comprehensive view of the use of metaphorical witch imagery in the nineteenth century.

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Symbols represent information we have previously learned or experienced, but they can also serve to encourage thoughts and behaviors that are consistent with this knowledge/experience in order to maintain social cohesion (Guthrie, 1996). Pictures (e.g., American Red Cross image) representing moral rules (e.g., ‘save lives’) have been shown to influence moral decisions (Broeders, van den Box, Muller, & Ham, 2011), but there is no empirical evidence to demonstrate that religious pictures encourage the same outcome. Four studies examined whether religious pictures would influence decision making (lexical, moral), and furthermore whether personal belief in religion was a moderating factor. In Study 1, participants viewed religious and neutral (control) pictures, and then made a series of lexical decisions (Meyer & Schvaneveldt, 1971). In Study 2, participants viewed religious and neutral words (which represented the pictures viewed in Study 1), and then made lexical decisions. In Studies 3 and 4, participants made decisions about moral actions. Moral decisions were preceded by viewing pictures in Study 3, and by words in Study 4. Self-reported religiosity was assessed last in each experiment. Across the four studies, we found support for the influence of religious pictures on decision making. In Studies 1 and 2, lexical decisions were faster to religious words when primed with religious pictures. In Study 3, participants rated morally ambiguous actions as less appropriate when primed with religious pictures. This occurred to a greater degree for religious participants. In Study 4, there was a general priming effect of religious words, but this was not influenced by individual religious beliefs.

The purpose of this study was to determine if the use of a consistent pre-shot routine coupled with rehearsal imagery can increase putting performance of golfers. Two (2) volunteers participated in this study. The participants performed two putting tasks over the course of two weeks to establish baseline putting performance. Participants then met with the researcher and constructed new pre-shot routines that included positive outcome imagery. The new pre-shot routines were also presented to the participants in the form of an audio imagery CD that each participant was instructed to listen to five times a week through the remainder of the study. During the next three weeks the participants practiced their pre-shot routine and performed a putting task five times and their performance from each task was measured. With the use of visual inspection the results indicated a moderate increase in putting performance for both participants. Participants made more putts and had a smaller distance of missed putts during the treatment when compared to baseline performance. Participants did increase their pre-shot routine completion times (s). However, pre-shot routine completion times did not become more consistent from baseline to treatment. / School of Physical Education, Sport, and Exercise Science

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The on-going calibration and validation of visible satellite imagery remains a core activity of the scientific community in pursuit of high quality data characterising the oceanic chlorophyll field, providing input to models assessing primary productivity and the potential role of the oceans in climatic regulation. This work serves to examine the operational characteristics of semi-analytical algorithms that are designed to derive key optical properties from space born observations of ocean colour. The collection of water samples contemporaneously with precision profiled radiometry conforming to similar spectral bands to those of the NASA Sea Viewing Wide Field of view Sensor (SeaWiFS) was planned and executed, with appropriate field sampling techniques developed in accordance with the SeaWiFS Ocean Optics protocols (Mueller and Austin, 1995). Data were collected during extensive fieldwork sampling at a near coastal survey site and during two deep Atlantic research programmes. Historical and recently developed algorithms designed to retrieve the diffuse attenuation coefficient at 490nm and chlorophyll-a pigment concentrations from upwelling radiances were applied to the optical data, to compare the mathematically retrieved in-water properties with the values measured in-situ. The radiometric data were then used to generate general and local algorithm modifications to assess possible differences in the mathematically retrieved values. Statistical analyses of the errors in mathematical retrieval of in-water properties identified stmctured variability resulting from the empirical approach to algorithm generation, supporting the point of view that locally constrained algorithms provide a method of achieving significantly improved results. The problems associated with the derivation of semi-analytical algorithms are then discussed and errors analysed. The new algorithms generated here are found to compare well with their source data and with work by other investigators. Systematic variability was found within the data sets and the affect this has on the determinations is discussed. It is suggested that data users be afforded details of the equations employed in the production of readily available remote sensing products, placing them in a position where they are better able to assess the data in the context of their work.

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