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Elizabeth Ezra

Exposition universelle , the American dancer Loïe Fuller swirled, twirled and swooped her way into the public imagination, evoking the image of a butterfly and the art nouveau style so characteristic of the age. 1 At several theatres and fairgrounds, performers such as Erolyna, Ethéréa (‘un ange ou presque’ – ‘an angel, or almost’), Magneta and Miss Beauty drew audiences who came to marvel at the sight of

in Georges Méliès
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Charles T. Hunt

-Kelly ( 2003 ). 5 Connectivity is defined by tight and loose ‘coupling’ – i.e. the degree of ‘epistatic interaction’. 6 This phenomenon is often depicted by Lorenz's ‘butterfly effect’ whereby an event, seemingly trivial in size or importance (e.g. a butterfly flapping its wings in Brazil), can lead to a

in United Nations peace operations and International Relations theory
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Swinburne’s A Century of Roundels
Herbert F. Tucker

This chapter begins, somewhat like the form of Swinburne’s devising that is its subject, at the end, which is to say at the ‘Envoi’ concluding A Century of Roundels (1883) on its last and hundredth page: Fly, white butterflies, out to sea, Frail pale wings for the winds to try, Small white

in Algernon Charles Swinburne
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Gender, sexuality and the representation of popular dance
Allison Abra

examination of the gendered discourses that surrounded dancing demonstrates that this leisure form was always prone to some degree of controversy, and was a site for the reification – but also the transgression – of lines of class, gender and sexuality. However, popular dance also became progressively more respectable and integrated into the national culture as the professionalisation and commercialisation processes described in the preceding chapters unfolded. Butterflies and lounge lizards: popular dance and the redefinition of gender In February 1920, the Daily Express

in Dancing in the English style
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Operationalising consensus, internalising discipline
Patrícia Alves de Matos

: ‘innovate’, ‘improve’ and ‘make real’, which told us which room to go to. With my ‘make real’ badge, I made my way to the appropriate room, where the trainer had already begun the session with a PowerPoint presentation featuring a three-dimensional picture of a butterfly. She asked the audience what they saw in the picture. Some said a butterfly, others a painting with the shape of a butterfly. She then asked if everyone was already acquainted with the ‘butterfly effect’. Some said they knew the main idea: the movement of a butterfly’s wings in Brazil could set off a

in Disciplined agency
David Gribble

: Sudbury Valley School, Massachusetts; the School of Self-Determination, Moscow; Tokyo Shure, Japan; le Centre Energie, Madagascar; Krätzä, Berlin; Tamariki, Christchurch, New Zealand; Highfield Junior School, Plymouth, England; la Fundación Educativa Pestalozzi, Quito, Ecuador; Sands School, Ashburton, England; the Democratic School of Hadera, Israel; Dr. Albizo Campos Puerto Rican High School, Chicago; the Butterflies organisation for street and working children, Delhi; Moo Baan Dek children’s village, Thailand. I have met people from all these places, and visited all

in Changing anarchism
Sam Illingworth

collector of butterflies and rocks, the latter of which he chemically analysed in the family bathtub. He seems to have taken particular pride in his butterfly collection, catching them in a green net or raising them from caterpillars before carefully pinning them on limewood panels, then labelling each of the specimens with tiny tags to identify both their name and the circumstances of their capture. In his poem ‘Boy catching butterflies’ he writes: With a wretched net over his shoulder he wanders from tree to

in A sonnet to science
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Rewriting the English lyric landscape
Anne Sweeney

English but ‘fetcht from farre away’ (lines 168, 201–3). His butterfly, Clarion, spiritually independent and unwilling to accept guidance, and therefore unable to tell the flowers from the ‘weeds of glorious feature’ (l. 213), is distracted and drawn by this dizzying sensual excess towards death in a spiderweb of destructive envy. Pagan precedents and godly motivations are employed, including the myth of

in Robert Southwell
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Winterbottom and a body of work
Brian McFarlane and Deane Williams

Winterbottom brought with him from the first Cracker episode editor Trevor Waite who was to edit the next nine Revolution productions including Family , Go Now , Butterfly Kiss , Wonderland (1999), The Claim and 24 Hour Party People . Waite was an experienced editor having worked on Rumpole of the Bailey (1978–92), Inspector Morse (1993) and Cracker (1993). On many of these films Waite was assisted by Peter Christelis

in Michael Winterbottom
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John Kinsella

, for observation of vulnerable animal species, might ultimately serve it self more than who/what it is trying to protect (not always – this argument is not absolutist, but a possible interpretation … things are constantly in flux with regard to actuality and perception), as in, say, the case of the butterfly lover who spends so much time in the field and loves, as Nabokov did, butterflies beyond conception, and yet could not only net and kill and display them, always hoping to capture a new species, but infuse his writings

in Beyond Ambiguity