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Tim Ingold

Commentary on Part I Tim Ingold Can a living being emerge in its own image? It can, if it is an insect. Most insects pass in their life-cycles through a series of developmental stages known as instars. For some, the change from stage to stage is gradual, such that each stage somewhat resembles the one before. For others, however, including beetles, bees, ants, butterflies, moths, fleas and mosquitoes, the transition from one instar to the next is abrupt and complete: a total metamorphosis. What happens is that each instar furnishes an outer covering, skin or

in Images in the making
From insular peace to the Anglo-Boer War
Julia F. Saville

synaesthetic coup, the singer-swimmer uses his border-crossing amphibious perspective to yoke together the strange fecundity of the gloomy underwater and the familiar sun-drenched marine scene to produce the unanticipated climactic image of sea-butterflies, hovering between literal and figurative: Like flowers upon flowers In a festival way

in Algernon Charles Swinburne
Jonathan Bignell and Stephen Lacey

that dominant conceptions of the social meanings of Butterflies (BBC 1978–83) (Hallam) and Dad’s Army (BBC 1968–77) (Nelson) are challenged and renegotiated. Linking audience response to ideological or textual criticism and a nuanced account of modes of acting and performance, the analysis contained in both essays is complex and politically aware. For Hallam, Butterflies, for all the narrowness of the comfortable, affluent and middle-class social world it portrays, nevertheless engaged its (largely female) viewers with real-life dilemmas and was appreciated for

in Popular television drama
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David Archibald

resisting the process of which García Márquez warns. In July 2000 I wrote an article for the Guardian on the history of the Spanish Civil War in cinema (Archibald, 2000 ) to coincide with the UK release of Butterfly’s Tongue. The newspaper’s editors headlined the article ‘The war that won’t die’, alluding to the increased number of films dealing with the period. Over a decade on, this process continues apace, congruent with increased levels of open and public debate as Spain struggles to come to terms with the memory of its bloody past. This book has outlined how the

in The war that won't die
Ted Hughes and Kay Syrad
William Welstead

many decades by naturalists and the specialist societies that record the occurrence of plants and animals. An example is that the grassland of Huish Farm is sufficiently interesting to attract the attention of the local branch of Butterfly Conservation, which advertised a guided walk on 11 August 2013 ‘through the varied habitat of Huish Farm to the chalk downland hillside of Ridge Hill, looking for second brood Adonis Blue [butterflies]’. This interest goes some way to explain the farm's requirement, as recorded by Syrad, to ‘pay attention to the

in Writing on sheep
Karen Fricker

series of images which are intricate and often dazzling’ (Frieze 133) (figure 4.1). We watch as twelve-year-old Jana (Marie Brassard) meets and grows close to the opera singer Sarah Weber (Rebecca Blankenship). Sarah hangs herself at the end of the section, overcome, it seems, by the hopelessness of existence in the camp, from which Jana eventually escapes. As the section ends, the adult Jana sits up as Blankenship walks slowly forward behind the glass, singing the title character’s final aria from Madame Butterfly, in which she says goodbye to her child (‘Look closely

in Robert Lepage’s original stage productions
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The short stories and The Cement Garden
Dominic Head

and his wife are the ‘exaggerated representatives’ of ‘the highly rational and destructive’ and ‘the loving but self-deluded’. What makes the opposition interesting is McEwan’s ‘intended irony’ that his narrator ‘uses the very system (“the mathematics of the Absolute”) to dispose of her, that Maisie endorses and he has repudiated’ (IG, p. 12). The most problematic story in the collection, perhaps, is ‘Butterflies’, which is bleak in every sense.13 The setting is a desolate part of London, with no parks (‘only car parks’), traversed by a ‘brown canal which goes

in Ian McEwan
Les Revenants as metaphysical drama
Alberto N. García

. In stark contrast with the previous scene, now it is almost night, which makes the sublime landscape gloomier. A constant and prolonged musical note, from a Hammond organ, adds intensity to the mise-en-scène. The camera zooms in towards and then into a house in the foothills of the mountain. The melody intensifies, still with the same note, generating suspense due to its duration. The camera moves in closer, and subsequent editing dissolves into a close-up of a butterfly pinned in a shadow box. The musical crescendo continues, adding a rhythmic drumming that

in Substance / style
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Bruce Woodcock

’s story of the butterfly in Bogotá, an anecdote of anticipation, romance and disappointment, emblematised by a butterfly flying away in the sunlight (29). This enigmatic image recurs for Harry when he is trying to write his note of farewell (45), and in the narrative future at the moment of David’s execution. He determines to die for a futile cause, and although ‘[f]or an instant panic fluttered its wings in his ears’, in doing so becomes himself the centre of a mythic story told as an embodiment of heroism after his death by the commandant in charge of his execution

in Peter Carey
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Lucy Bland

: she was labelled the butterfly woman/girl. The term sounds benign but as we have seen, it reduced the butterfly woman’s agency, pinning her down j j 213 modern women on trial to a superficial and transitory life of flitting aimlessly from nightclub to nightclub, sipping the deadly nectars of drink and dope.� Although dance was not explicitly attacked in press reports of the trials, women’s sensation-seeking was, particularly as exhibited by the female audience. The trials of Edith, Marguerite and Christabel all involved press complaints about the cross

in Modern women on trial