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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
Naomi Booth

with the desire of lovers to die together that is commonly expressed in art, and in particular in Wagner's Liebestod in Tristan and Isolde : ‘our being we might blend / in love without an end’. 74 Later, Carmilla extols to Laura the virtues of the opportunity ‘to die as lovers may – to die together, so that they may live together. Girls are caterpillars while they live in the world, to be finally butterflies when the summer comes; but in the meantime there are grubs and larva, don't you see – each with their peculiar

in Swoon
The Virgin of Flames
Annalisa Oboe and Elisa Bordin

of the Chicana queer model Raquel Salinas, who was raped as a teenager but accused by her family for her supposed ‘criminally sexual’ behaviour. 61 This attempt at queering the traditional vision of the Lady of Guadalupe, replacing the idea of a virgin with that of a supposed ‘whore’, is reinforced by other elements of the usual iconography, such as the angel sustaining the Virgin. Instead of Juan Diego, the indigenous man to whom Christ’s mother appeared in the sixteenth century, López depicts a butterfly, a symbol of

in Chris Abani
Abstract only
John Kinsella

echidna cylinders full of ants or maybe possum scats with vegetation still digesting into earth, as so many trails cross as so many trails are reused as so many trails source food and water by differing codes of access and definition the leaves of one shrub being enough to sustain moisture levels in one creature but a devastation of thirst to another and so the ants make for their funnels and colonies connect and mirroring below ground the honeydew feeders & the blue butterflies no drones overhead but yes, heat signatures brilliant in

in Beyond Ambiguity
Marginal annotation as private commentary
Federica Coluzzi

’ of lyrical inspiration nor ‘an after-dinner relaxation’ or ‘the plaything of the butterflies of literature’ ( Gladstone , 1884: 1). Rather, it required ‘the greatest mental effort to reach his level’ on the part of the individual who needed to let ‘his intellectual being be in great part absorbed in that of his original’; willing to ‘imbue and saturate himself with the spirit of Dante’ (3) first as a reader and only

in Dante beyond influence
Abstract only
John Kinsella

avant-gardist who doesn’t have an ‘actor’s heart’, who is a body full of butterflies, who will be sacrificed for challenging the status quo though might find ‘respect’ after they’ve gone, like the poet Kim Soo-Young. These are references not only to real suffering but also to a sublimated but devastating reality: that of the 1910–1945 Japanese occupation; the division of Korea along the 38th Parallel; the Korean War; the armistice and the 250km long and 4km wide Demilitarised Zone, which remains an active ‘no-man’s land’ to this day

in Beyond Ambiguity
John Kinsella

A POLYSITUATED ODE WITH OCCASIONAL, DEMI-BOUSTROPHEDON ‘Odeshock’ Walter Murdoch We’re all in it together, this place, that one too: passing through, born here, born there, overlays and more: tangential butterfly effect out of the flailed hedge, the Romanware they lift from the development site to validate the new-build, historically contextualised, coprolite – dinosaur shit. I am never in once place when I am here. A composite. Hup two hup two hup two three four, the beat tattooed on walkways and paths, squaddies behind the copse, the burgeoning coppiced growth

in Polysituatedness

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 172 John's G5:Users:john:Public:John's Mac: John's Job 10 Tropes of yearning and dissent: the inflection of desire in Yvonne Vera and Tsitsi Dangarembga1 To build something new, you must be prepared to destroy the past. (Yvonne Vera, Butterfly Burning)2 This chapter seeks to bring into juxtaposition two Zimbabwean women writers and a question of same-sex sexuality: its configurations of desire, its vocabularies of aspiration. It thus extends this book’s overall concern with women’s representation into the area of women

in Stories of women
From insular peace to the Anglo-Boer War
Julia F. Saville

synaesthetic coup, the singer-swimmer uses his border-crossing amphibious perspective to yoke together the strange fecundity of the gloomy underwater and the familiar sun-drenched marine scene to produce the unanticipated climactic image of sea-butterflies, hovering between literal and figurative: Like flowers upon flowers In a festival way

in Algernon Charles Swinburne