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The poetry of Sinéad Morrissey, Leontia Flynn, Mary O’Malley, and Michael Hayes
Katarzyna Poloczek

moon. 143 (Hayes, 2007:17) Katarzyna Poloczek In other poems such as ‘Butterfly’, and especially in ‘An Fear Marbh: Homage to the Dingle-Man Himself ’, quoted below, what strikes one immediately is the ambience of peaceful serenity that emanates from the narrative. The anxiety of the earlier poems is replaced by safety when one does not have to fear physical extinction: ‘Stretched out / Relaxed / Snoozing / as a summer-cat’ (30). The final ­exclamatory utterances (‘Just imagine that! / Asleep on edge of the world!’ (ibid.) seem to express relief and pride in

in Literary visions of multicultural Ireland
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Describing and defending place for a living (or the renaissance of 100–mile geographers)
Briony Penn

next generation of guerrilla geographers. The origins of a guerilla geographer During that spring of 1969, I would sit for hours gazing at these meadows of stunning spring wildflowers full of butterflies from one of the gnarled Garry oak trees. The essence of Garry oak meadows is that they occur on sunny, warm, south-aspect slopes, distinct from the rest of the coast, which is typically shrouded in cloud. These meadows are reliant on geology. The tectonic plates of that Pacific edge have piled up mountains like suitcases on a conveyor belt, forming a unique

in University engagement and environmental sustainability
Cristina Johnston

’ terrified black shop-maid Butterfly McQueen (uncredited in this film), nothing in the scene asks the viewer to think about this representation of, in fact, quite upsettingly violent domination of one woman by another. The interaction is merely part of the order of things in the film’s particular ideological universe, and is matter-of-factly presented as such. The film as a whole, while often hugely enjoyable, is permeated with a

in From perversion to purity
Carol Chillington Rutter

. (III.vii.69–73) For Hieronimo, then, the torments that have led his ‘tortured soul’ to ‘the brazen gates of hell’ (while his ‘broken sighs’, ‘hovering in the air’, ‘Soliciting for justice and revenge’, have helplessly ‘Beat at the windows of the brightest heavens’ like butterflies flailing their wings against glass) appear to have

in Doing Kyd
Working for the British in Calais 1916
Janet Lee

these roles. De Havilland emphasized the personal bravery and physical stamina required of FANY drivers and juxtaposed this against what she called ‘butterfly chauffeuses’: girls out for new experiences and a good time who find out quickly that driving an ambulance in France is ‘not so thrilling and enjoyable as some inexperienced girls imagine it to be’.66 She shares the story of one woman who, unprepared and unwilling to work and finding she could not ‘stick it out’, soon returns home to England. Although de Havilland does not identify this ‘butterfly chauffeuse’, most

in War girls
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Dominic Johnson

. Pressed on this principle of the blurring of art and life and her antipathy towards iconicity, Bean tells me, By being a continuum, art includes all the life ‘in between’. It’s just the truth of it. That’s how the work happens, in among other practices of life. So, those moments in a life that happen to have a photograph or a bit of video attached, they are simply butterflies caught in a net. The photograph or the video does not exclude the enormous and much more exciting territory of what led to that moment, and how different ways of working shifted and flowed. The

in Unlimited action
Martin Yuille and Bill Ollier

, think about metamorphosis. A caterpillar starts life as one jigsaw puzzle and ends up as another – a butterfly. These two forms of life have precisely the same genetic blueprint. So, under different conditions, the blueprint can be used in completely different ways. In plants, think of the amazing transformation of a deciduous tree between winter and summer. In humans, think of the plasticity of our brains. Throughout our lives, the brain is making and breaking contacts between nerve cells. From the moment we are born at, say, four kilos to our adult weight twenty

in Saving sick Britain
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Martin Yuille and Bill Ollier

, but this too is a form of prevention where the aim is to reduce risks to life from the animal’s exposome (see Chapter 7 ). In some species, natural prevention has occasionally taken the form of self-medication. 3 Fruit flies preferentially lay their eggs in high-ethanol food to reduce the risk to the progeny of infection by parasitic wasps. Wood ants incorporate into their nests antimicrobial resins from conifer trees so as to prevent microbial growth that would harm individual ants and the colony as a whole. Monarch butterflies infected with a parasite

in Saving sick Britain
Jonathan Bignell and Stephen Lacey

nostalgia. Butterflies (BBC 1978–83) functioned for some of its women viewers, Hallam argues, as a way of negotiating changing roles for women and attitudes to domesticity, and this response to the programme was documented by respondents to her requests for memories about the programme. Nelson discusses how older viewers of Dad’s Army saw the programme as a validation of ideas about national solidarity and community, contributing to memories that informed their sense of the present. Younger viewers without that memory understood the programme somewhat differently

in Popular television drama
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The South African Museum, Cape Town
John M. MacKenzie

of papers and a two-volume work on butterflies 44 at the time of his appointment and wrote many more papers while curator from 1872 to 1895. 45 During these years the staff remained minimal, little more than a taxidermist (later with an assistant), a clerical assistant from the 1880s, and an attendant. Both Trimen and more particularly his successor (but one) Louis Péringuey were able to exploit their entomological expertise

in Museums and empire