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Robert H. MacDonald

from some chairs and a blanket. To speak of ideology in such a case may seek to break a butterfly on a wheel, yet the listening child, in a world constructed by an adult, is being conditioned in a classist and ethnocentric self-image. The mood is comfortable and self-congratulatory: the child looks out on from behind his window on Leerie the Lamplighter, and is safe in a middle-class nest. People

in The language of empire
Andrew J. May

his family had been in residence since the midsixteenth century. Among other collectibles, the ‘bachelor duke’ had developed an obsession with orchids after seeing the Psychopsis papilio at an exhibition in London in 1833. The flower motif of this butterfly orchid is carved into the trellis pattern of the golden picture frames in the Gold

in Welsh missionaries and British imperialism
Donald F. Lach and Theodore Nicholas Foss

la Chine , retelling the delightful dream of the Taoist Chuang-tzu. 15 In ‘Das Rad des Schicksals’(‘The Wheel of Fate’) (1784) Seckendorf starts with the metempsychotic reverie of Chuang-tzu, in which the philosopher wonders if in reality he is a butterfly dreaming he is Chuang-tzu or Chuang-tzu dreaming he is a butterfly. On the basis of this dream Seckendorf tried to compose a piece in what he

in Asia in Western fiction
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Barry Jordan

festivals at Sitges and New York (source: ). Amenábar also played a key role in launching Mateo Gil’s feature career, making multiple contributions to his debut film Nadie conoce a nadie (Nobody Knows Anybody, 1999). He also helped restart José Luis Cuerda’s own faltering career with the very successful La lengua de las mariposa s (Butterfly’s Tongue, 1999). In both cases, he was responsible for the film score. Also

in Alejandro Amenábar
Barry Jordan

mariposas (Butterfly’s Tongue, 1999). 12 Marianelli won an Oscar for Atonement (Joe Wright, 2007); he was also Oscar-nominated for The Brothers Grimm (Terry Gilliam, 2005). 13 For example the cast for Torrente 4 includes a rare gamut of cameos including, among others, the late dictator

in Alejandro Amenábar
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Brian McFarlane and Deane Williams

, Martin Hannett, Joy Division and New Order. In terms of Winterbottom’s oeuvre , the soundtracks to his films have featured Manchester bands, such as New Order, The Stone Roses and The Happy Mondays, as early as Butterfly Kiss , With or Without You and Welcome to Sarajevo (New Order’s ‘World in Motion’ is repeated from Butterfly Kiss ). The film also makes much of the landscape surrounding

in Michael Winterbottom
Lisa Downing

gaze. While Yvonne is put on display as a female object of desire, Meinthe’s raffish, stereotyped appearance constructs him as a visible sexual anomaly, an object of fear and ridicule. Their plight is evoked by the film’s leitmotif of butterflies (Victor claims that he is selling off his father’s collection of rare ones to make a living). Yvonne, then, is effectively a butterfly too: beautiful to look at but pinned down

in Patrice Leconte
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Opera’s untenable pleasures
Monica B. Pearl

the opera, there is invariably an experience of surprise – conversion: falling in love. Koestenbaum’s ‘first three opera sets, talismanic [were] purchased by my grandparents for my tenth birthday: Carmen, the Richmond/London budget set… Aida, the Toscannini version… Madama Butterfly, with Anna Moffo.’51 Although he stopped listening initially, ‘midway, because [he] couldn’t find the melodies’,52 he later fell for Moffo, in a story that – like the gay coming out story – has a recognisable narrative: first there is resistance, even boredom or contempt, then love

in Writing otherwise
Sam Illingworth

school’s gardens, where he kept lizards, frogs, and the occasional snake in a small greenhouse. During this time he also collected butterflies, learning to raise them from caterpillars that he had collected from the surrounding gardens; he even nurtured a chameleon, a gift from his Uncle Charles, which sadly died when one of the gardeners watered it as a cruel joke. In his autobiography (first published in 1923), Ross declared that he was still angry at the gardener for this prank, despite it having occurred almost half a century before; this is emblematic of the

in A sonnet to science
Bill Jones

their own perceptions and powers of reason in deciding on which party to bestow their support. Apart from the smaller numbers which now gave more or less automatic support, voters’ allegiance was ‘up for grabs’. Denver points out that even the apparent stability of Conservative successes during the 1980s was not based on an unchanging, solid block of voters but on ‘A temporary coalition of voters which then dissolved in the inter-election periods’. So it seems voters had emerged from the chrysalis of class loyalty as a butterfly which fluttered from party to party

in British politics today