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Russ Hunter

the usual markers of distinction: several important monographs (this volume key among them), conference keynotes, numerous invitations to contribute to special editions of journals and edited collections, as well as a host of other honours. These were, of course, important milestones in Peter’s career. But Peter was much more than the sum of these professional parts. Academics can be professional butterflies, flitting from one institution to the next in search of some kind of Holy Grail of employment

in Hammer and beyond
Rachel E. Hile

Venus and Astery, because the matter must rest in the realm of speculation, though a few critics have noted in passing the possibility of a correspondence between the Venus of Muiopotmos and Queen Elizabeth (see, e.g., Lemmi, “Allegorical meaning,” 740–41; Harris, “Butterfly,” 305; Herron, “Plucking,” 100). Rather, I wish to read these two poems side by side not only to prove that at least one contemporary reader, Tailboys Dymoke, 12 For discussion of contemporary critiques of Elizabeth that hinged on supposed inchastity, see Levin, Heart and Stomach, 66–90. MUP

in Spenserian satire
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Brian McFarlane and Deane Williams

metropolitan life. This view is at once fascinated and appalled. This use of a threatening mise-en-scène, at its most alarming in A Mighty Heart , is characteristic of almost all of Winterbottom’s work. As far back as his first feature, Butterfly Kiss , with its affectless stretches of motorways and the characterless strips of life along their edges, through the handsome quadrangles of learning that so firmly

in Michael Winterbottom
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Andrew Frayn

literature often describes sympathy between opposing combatants. Conclusion 245 The death of Paul Bäumer, at the end of the film of All Quiet on the Western Front, exemplifies the problem of disenchantment in one compact image. Drawing on an innocuous description of a butterfly in the novel, Milestone enlisted the help of the German cinematographer Karl Freund to create a poetic, understated ending.34 Over time and over budget, the two men shot a short scene showing Bäumer reaching out of the trench to grab a butterfly; so far over time were they that Milestone’s hand

in Writing disenchantment
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Brian McFarlane and Deane Williams

work, ‘His years in television engendered some of the most important collaborative relationships that came to dominate his working ethos’. 5 These include screenwriter Frank Cottrell Boyce, who wrote Forget About Me and would later write Winterbottom’s first feature, Butterfly Kiss (1995), and several other ambitious films, including The Claim (2001) and 24 Hour Party People (2002); Trevor

in Michael Winterbottom
Barcelona 1916
Dafydd W. Jones

through his inquietude that he would not be staying for long in Barcelona, and that his next destination would be America and Brazil. As an antidote to the emotionally creative bankruptcy of Paris, the lyric is restored: What will I do there [in Brazil]? I can only reply that I will be going to see the butterflies. Perhaps it is absurd, ridiculous, impractical, but it is stronger than I, and if I have perhaps some worth as a poet, it is precisely because I have irrational passions, excessive needs; I would like to see spring in Peru, to make friends with a giraffe, and

in The fictions of Arthur Cravan
Brian McFarlane and Deane Williams

disease. In Winterbottom’s oeuvre , Go Now may be seen to draw on his television work, including his highly regarded, BAFTA-nominated Family , and to anticipate his prolific cinema output, poised as it is almost between the two and just after his first clear cinema film, Butterfly Kiss . As Eaton said of making Family : ‘When we were doing Family we still thought we were making a film . It had to

in Michael Winterbottom
Victoria Coldham-Fussell

comically self-assured butterfly, Clarion, who is killed by a vindictive spider, Aragnoll. The poem is, in part, an origin myth: it draws on Ovid’s story of the rivalry between Pallas and Arachne in order to explain why spiders have a grudge against butterflies. Opening with the ponderous announcement ‘I sing of deadly dolorous debate’, it is mock-epic in tone throughout but contains some especially amusing passages, such as the conversion of Clarion’s insect anatomy into a formal ‘arming of the hero’. The butterfly’s head becomes a ‘glistering Burganet’, the tiny hairs

in Comic Spenser
The intrusion of the time into the play
Richard Wilson

, cannot be maintained’. 80 Coriolanus’s masters will therefore allow just enough scope to his ‘sovereignty’ to let him triumph in the public arena on their behalf: ‘he’ll be to Rome, / As is the osprey to the fish, who takes it / By sovereignty of nature’ [ 4,7,33–5 ]. Yet their recurring image for his genius is not a bird of prey but a butterfly: ‘There is a differency between a grub and a butterfly

in Free Will
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Hidden gardens and the haunting of childhood
Francesca Bihet

, but they haunt’, ‘they are projections of self, rather than the other’, blurring borders between ‘reality and fantasy’, ‘authenticity and forgery’ and ‘presence and absence’ ( 2011 : 4). Nicola Bown argues that the Victorians, confronted by the ‘power of modernity’ that was ‘overwhelming’, used fairies as a ‘smaller, more fragile, more magical version of themselves’ to express their hopes and fears ( 2001 : 11). In Walter Crane's illustrations for A Floral Fantasy in an Old English Garden ( 1899 ), a butterfly-winged fairy guides the reader around the

in EcoGothic gardens in the long nineteenth century