To mark its 250th anniversary in 2002, the British Museum decided to make one of the earliest existent depictions of Lilith, or Astarte, its chief acquisition. Called The Burney Relief —after Sidney Burney, who had purchased it in 1935— it was purchased in June 2003 from a Mr Sakamoto at the price of ₤1,500,000. To celebrate its entrance into the museum's collections, it was renamed the “Queen of the Night” by the British Museum (Collon 2005 511). It has been connected to feminine divine and demonic figures, such as Ishtar, Lilith, Astarte, and has been called “Queen of the Underworld” (Collon 2007 50). My thesis looks at these figures of the feminine demonic and the evolution of occult philosophy, and particularly demonology, within Early Modern England, and how demonological studies influenced and were influenced by current sociopolitical climates. Within much occult writing, nonChristian sources (including preChristian philosophy and Hebraic Cabala) were incorporated into the Christian world view, and affected Christian systems of angelic hierarchies and man's place within these hierarchies. English occult thought was influenced by continental writers and philosophers such as Heinrich Cornelius Agrippa, Marsilio Ficino, Giovanni Pico della Mirandola, and Leon Modena. One figure, in particular, featured strongly in many of the demonological writings which were making their way into English occultism: Lilith. When dealing with issues of political and sexual power, Lilith often appears as a focal point for philosophers as they attempt to discover links between gender, demons, and evil. This thesis examines the feminine demonic and the figure of Lilith in the art and literature of the sixteenth and seventeenth centuries, looking both at the occult practioners John Dee, Simon Forman, and Edward Kelley, and at the literary traditions that came out of that occult philosophy. It explores how Lilith manifests in literature which tries to address anxieties surrounding the feminine demonic and sexuality, and the implications of a demonic, political inversion. Lilith and the feminine demonic are seen to be relevant to the works of Ben Jonson, James VI and I, Thomas Dekker, Robert Greene, Christopher Marlowe, William Shakespeare, and John Selden, with a final chapter examining the evidence of Lilith in Milton's poetry, and in particular, Milton's Paradise Lost.

Three underlining themes govern this dissertation They are as follows: -Change as a constant, indefinable factor within South Africa’s emergent public -Architectural informants as linear, process-driven vectors, and the relevance of potential alternative approaches. -Articulation of space, and the role of signification in architectural form. This project aims to address these themes through applying mapping techniques derived from the social sciences, and, more specifically, anthropology viewed from a classical-philosophy vantage point, to find new explorative ways of truly understanding the context in question. This, in turn, will allow one to respond accordingly and in a manner representative of this new paradigm. The cumulative product aims to create a new, viable architectural intervention that applies relevant theoretical premises in a such a manner that the physical structure can be studied as precedent for approaching future public architectural interventions within the South African context. / Dissertation (MArch(Prof))--University of Pretoria, 2014. / Architecture / MArch(Prof) / Unrestricted

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A collection of poems by Juliana Ward

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.

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.

Eosinophilia is not an uncommon finding on a routine complete blood count (CBC) during a primary care visit. The differential diagnosis is varied including allergic/atopic disease, drug reaction, infection, inflammatory conditions, and malignancy. An 80-year-old male was incidentally found to have leukocytosis on routine labs. White blood cell (WBC) was 27.5 K/ul with eosinophilia 4.3 K/ul (normal range 0-0.6 Kul) and Hemoglobin/Platelet counts were normal. Patient was asymptomatic. Denied history of medication change or allergy. Chest X-Ray (CXR) followed by Computed tomography (CT) showed 5 cm pulmonary mass with mediastinal lymphadenopathy. Patient developed progressively enlarging left neck mass, hoarseness, weight loss and decreased appetite in the next 3 weeks. WBC increased steeply to 65 K/ul with eosinophil count - 18.5 K/ul. CT neck revealed a large heterogeneous mass of the thyroid extending to the trachea, esophagus, and mediastinum. Patient decided not to proceed with further diagnostic workup and management given his age and comorbidities. Eosinophilia can be asymptomatic or present with nonspecific symptoms like cough, fatigue, skin rash or neuropathy. Eosinophilia work up starts with a comprehensive history detailing travel history, exposure to well water/spring water, analysis of past medical history to include asthma, atopy and especially medication history. Physical exam with attention to atopy/eczema and skin rash is vital. Work up may include a CBC, peripheral blood smear, stool test (for ova and parasite), IgE/tryptase levels and evaluation for occult malignancy (CXR is an ideal first step). Further testing with Bone marrow biopsy and CT scans is a consideration if a clear diagnosis is not achieved. Life-threatening complications of untreated hyper-eosinophilia include thromboembolism, endomyocardial fibrosis, cognitive disturbances, and respiratory failure. Incidence of eosinophilia is 1% in malignant tumors. Malignancy encompasses hematological cancers (acute leukemia, chronic myeloid leukemia, systemic mastocytosis, lymphoid neoplasms) and solid tumors (lung, thyroid, breast and gastrointestinal tract cancers). Eosinophilia suggests advanced disease in solid tumors and portends poor prognosis. Paraneoplastic eosinophilia has been reported in thyroid cancer (sclerosing muco-epidermoid) and lung cancer (squamous and adenocarcinoma). Pathophysiology of eosinophilia in solid tumors is related to bone marrow stimulation through cytokines (interleukin-5, granulocyte-macrophage colony-stimulating factor, and interleukin-2). Primary eosinophilia responds to steroids and hydroxyurea. Treating the underlying malignancy is the cornerstone of paraneoplastic eosinophilia management. We present a case of extreme progressive eosinophilia secondary to a malignancy which would be of interest to the primary care clinician.

This thesis investigates syncretic animal symbolism within medieval European occult systems. The major question that this work seeks to answer is: what does the ubiquity and importance of magical animals and animal magic reveal about overarching medieval perceptions of the world? In response, I utilize the emerging subfield of Animal History as a theoretical framework to draw attention to an understudied yet highly relevant aspect of occult theory and practice. This work argues that medieval Europeans lived in a fundamentally “enchanted” world compared to our modern age, where the permeable boundaries between physical and spiritual planes imbued nature and its creatures with intrinsic power. In addition, with the increasingly pervasive influence of Christianity, animals took on supplementary and often negative symbolic dimensions within evolving magical systems, yet retained their sense of power within a new syncretic context. By surveying classical occult inheritance, the pervasive influence of Christian doctrine, the use of animals in medical magic, and their rich symbolic potential within medieval literature, this interdisciplinary work highlights the multifaceted medley of Christian and pagan elements that became intertwined in daily life despite seeming doctrinal opposition. Although further scholarly research has yet to be done, analyzing understandings of a world filled with intrinsic occult power offers a valuable and revealing contrast to an age of increasingly sharpened boundaries between animals, human beings, the cosmic realm, and nature.

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