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The comic art of housework
Julia Hallam

In the autumn of 2000 the original cast of Carla Lane’s Butterflies (BBC 1978–83), Wendy Craig (Ria Parkinson), Geoffrey Palmer (Ben Parkinson), Nicholas Lyndhust (Adam Parkinson) and Andrew Hall (Russell Parkinson), reassembled to celebrate Ria’s sixtieth birthday as part of the BBC’s annual charity appeal Comic Relief . Butterflies was a domestic situation comedy centred on the boredom and frustration of a ‘typical’ 1970s suburban housewife (white, middle-class and southern English) who teeters on the brink of having an affair but, overcome by guilt

in Popular television drama
Critical perspectives

This book aims to provide resources for critical thinking on key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It explores the continuing popularity of the situation comedy, and makes a convincing case for considering sitcom as a key popular genre. By offering a sense of how 'real' audiences respond to, and engage with, actual programmes in specific social situations, dominant conceptions of the social meanings of Carla Lane's Butterflies and Jimmy Perry and David Croft's Dad's Army are challenged and renegotiated. The book takes up Queer As Folk to focus on its status as an authored intervention in debates about the representation of homosexuality. It demonstrates that The Prisoner series inhabits contradictions by unpacking the complex question of the series's authorship, and the inadequacy of attributing its meanings to its creator, star performer or production team, for example. The book argues that The Demon Headmaster makes a significant contribution to the project of exploring and defining questions of ethics and justice in social organisation, in part, by claiming children's culture as a space of experimentation, resistance and subversion. It looks at the ways in which television drama embodies assumptions about its audience, and pursues this in a sophisticated way in relation to late twentieth-century television adaptations of 'the female Gothic'. The struggle between the BBC power-base in London and its satellite Departments in Northern Ireland, Scotland, and Wales is also dealt with.

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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
The painful nearness of things
Lisa Mullen

suffered by London on the 76 nights of the Blitz. But as the war progressed and the air raids became more sporadic and geographically diffuse, the large-scale vision of public heroism against a dramatic nightscape, as promoted by Jennings’s films, contracted back down to the level of the hand-sized, daytime object; but this time there was no soothing suggestion that they could be neutralised with a homely bucket and pump. Two more Ministry of Information films warned against the domestication of unfamiliar things: Butterfly Bomb (1944) shows a young boy in his family

in Mid-century gothic
Sex, sensation and natural selection
Jonathan Smith

touched or disturbed, but the late Victorians were fascinated and repelled by the sundew's ability to attract, ensnare and consume its victims, and by the orchid's turning bees and butterflies into unwitting pandars. In her introduction to Plant Horror , Dawn Keetley ( 2016 ) offers six theses on what makes plants horrifying; many of these involve various ways that plants can upend our long-standing assumptions about them: that plants are not utterly different from humans and other animals (nor humans and other animals from them); that plants are not mere ‘background

in EcoGothic gardens in the long nineteenth century
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Z Vesper, the Wilderness Garden, Powis Castle
Paul Evans

. There have been many changes since my time here. The climate is warmer and wetter, perhaps there is also less atmospheric pollution but the increase in mosses and lichens growing on tree branches in recent decades is very noticeable. Climate change has increased the diversity of plants growing on the terraces where they are largely free from frost. There also appear to be far fewer butterflies. Despite loving their dark, woody tangles, I began the process of taking out the naturalised Rhododendron ponticum decades ago ; unknown to me then, it has to be grubbed up

in EcoGothic gardens in the long nineteenth century
Transformations and animal selves in contemporary women’s poetry
Polly Atkin

nor able to easily ‘tak[e] it in turns / to lead’ (ll. 13–14). The relationship between wolves is not painless, but it is unambiguous that wolves are better. The prose poem ‘How Wolves Change Rivers’ is more obviously environmentally focused. In the poem, wolves are shown to have a butterfly effect on their habitat, changing rivers: by killing the deer, by moving them on from the valleys, by the birds coming back to the trees, by singing to the water, with

in In the company of wolves
Frankenstein in new media
Tully Barnett and Ben Kooyman

interests of, and provide ideal objects of analysis for, contemporary adaptation scholars. For example, Phyllis Frus and Christy Williams, among others, advocate looking at radical adaptations of texts such as these as ‘transformations’ rather than simply adaptations, and use the scientific analogy of ‘metamorphosis’ to rationalise this: ‘When a caterpillar has reached maturity, it transforms into a butterfly – an entirely new form that is based on the earlier form. In literary transformations, the new texts may be based on an older one, but the reader or viewer may not

in Adapting Frankenstein
Narrating incest through ‘différance’ in the work of Angela Carter, A.S. Byatt and Doris Lessing
Emma V. Miller and Miles Leeson

order), as a transgression. The ancestral family home and the privileges of aristocratic difference it affords, offer her a peculiarly individualised environment, where like the rare butterflies her husband nurtures in the artificial safety of the conservatory, she can live according to a set of rules that would not survive easily in the real world. Indeed, every time somebody threatens the exposure of

in Incest in contemporary literature
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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