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Body hair, genius and modernity
Daniela Caselli

text, but I would like to use it in my discussion on body hair because, although it displays a familiar link among femininity, hairiness and modernity, the interplay between seduction, attraction and hairiness is notably different from that encountered in the texts analysed above. An unnamed third person narrator tells us that the lady who loves insects is the daughter of a Provincial Inspector and the next-door neighbour of the lady who loved butterflies. She ‘would sit’ for hours on end ‘gazing’ at her favourite creature, ‘the common

in The last taboo
The Shadow of the Sun and The Game
Alexa Alfer and Amy J. Edwards de Campos

time again in the medium of television, the modern looking-glass world with the camera-eye projected on to the television screen, the ‘mirror of our desires’ ( G : 167). Early on in the novel, Cassandra watches a nature documentary on butterflies presented by Simon Moffit, now a herpetologist and television naturalist, in which he propounds

in A. S. Byatt
Marisa McGlinchey

leadership. The likes of decommissioning. People were actually told don’t believe we’re gonna be decommissioning because we’re not. 60 In an article in The Blanket in October 2003 Anthony McIntyre argued ‘the only people lacking the ability to work out that the IRA has decommissioned its weaponry are to be found within the Republican Movement. Nobody outside the ranks is running around whispering, “It never happened.”’ 61 A butterfly that flew away In September 2015, a decade after IRA decommissioning

in Unfinished business
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Abbott as writer, producer and creator
Beth Johnson

. It might be by gall, stealth or favour, but if you let the audience see that you are taking care of that, you get away with murder. Murder, blood and gall literally became explicit themes in Abbott’s work, themes that ran into his next three projects; the scripting of an original two-part drama called Butterfly Collectors (Granada, April 1999), the creation of a new drama series entitled Children’s Ward (ITV, 1989– 2000) and later, the production of the second series of Cracker (ITV, 1993–96), as well as the writing of three episodes of the third series. The first

in Paul Abbott
The Story of Lucy Gault
Tom Herron

attending to Heloise’s ‘lassitude’ (66), Everard becomes her carer, cooking her meals, washing her clothes, brushing her hair, and buying trinkets for their ‘small appartamento above the shoemaker’s shop’ (67). But from the earliest days of their sojourn, the narrator/story-teller goes to some lengths to imbricate their existence with that of Lucy in Ireland. On one occasion, for example, a clockwork toy is introduced to the text with all the lucidity and strangeness of a dream: She watched the butterfly disappear and then come back, the magician’s wizened fingers splayed

in William Trevor
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Peter Marks

argument being that comedy works best with medium shots more redolent of television. Much of the dialogue was delivered straight to camera, Terry Jones feeling that this gave the comedy more intensity. Jabberwocky has serious aims, even as it uses comedy to make some of its points. It opens in an idyllic natural world, serenaded by a chirruping flute and symbolised by a green butterfly sitting

in Terry Gilliam
Global ecoGothic and the world-ecology in Rana Dasgupta’s Tokyo Cancelled
Sharae Deckard

sees what seems to be a swarm of pink butterflies obscuring his magic map, which she suddenly realizes are labia. These butterfly genitals, like the proliferation of disembodied limbs, orifices and wounds throughout the rest of the novel, are a return of the repressed which make visible the ‘unspeakable things’ in the shadow economies accompanying the rationalization of the neoliberal market: the sex

in Ecogothic
Chris Duke, Michael Osborne, and Bruce Wilson

and of the fluttering butterfly-wing that can tumble distant empires. These expressions refer to the combination and interaction of formally separate and perhaps dispersed processes and events that can together prove toxic and catastrophic. Interconnectivity and interdependency have entered common awareness; changed practice takes longer to follow. For action to follow perception policy discourse needs to change from ‘we can’t possibly do that’ to ‘we cannot possibly not do this’. For national and international governance the ‘global problematique’ embraces all

in A new imperative
Abstract only
Henry A. McGhie

particular dilemma for the upper and middle classes, who, being waited upon by servants, had large amounts of spare time to fill with socially acceptable activities. Natural history provided a suitable hobby, as natural theologians such as William Paley had argued that the study of nature was in effect the study of God’s work (see Barber, 1980: 22). Barber writes that natural theology gave thousands of amateur naturalists an excuse to kill butterflies and uproot rare plants to their hearts’ content…. Motives such as killing boredom might supply the real reason why so many

in Henry Dresser and Victorian ornithology
Patsy Stoneman

Page 94 Elizabeth Gaskell Emily Brontë’s essay ‘The Butterfly’, which Elizabeth Gaskell is likely to have read with Charlotte’s French devoirs (LCB: 170–4), shows a similar anguished doubt about human nature and destiny. ‘“Why was man created?”’ asks Emily Brontë. ‘“He torments, he kills, he devours; he suffers, dies, is devoured – there you have his whole story”’ (Lonoff: 178). The essay could be summed up by the line from In Memoriam which Elizabeth Gaskell omits from the motto to Sylvia’s Lovers: ‘O life as futile, then, as frail!’ Elizabeth Gaskell’s study of

in Elizabeth Gaskell