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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
David Gribble

: Sudbury Valley School, Massachusetts; the School of Self-Determination, Moscow; Tokyo Shure, Japan; le Centre Energie, Madagascar; Krätzä, Berlin; Tamariki, Christchurch, New Zealand; Highfield Junior School, Plymouth, England; la Fundación Educativa Pestalozzi, Quito, Ecuador; Sands School, Ashburton, England; the Democratic School of Hadera, Israel; Dr. Albizo Campos Puerto Rican High School, Chicago; the Butterflies organisation for street and working children, Delhi; Moo Baan Dek children’s village, Thailand. I have met people from all these places, and visited all

in Changing anarchism
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
Open Access (free)
Postcolonial women writers in a transnational frame
Elleke Boehmer

eponymous voice of the spirit-medium of the 1890s land wars or chimurenga, and Under the Tongue (1996) is the deeply internalised narrative of a victim of incest. Butterfly Burning (1998), also strongly spatialised, was discussed in chapter 10. Thereafter, shifting away from the topic of Arundhati Roy’s reception in the west, which was the focus of chapter 9, I will offer an intertextual commentary on her first and to date only novel The God of Small Things and of her non-fictional polemic against transnationalism. Large nations, small gods Many recent commentaries have noted

in Stories of women
Rodney Barker

principle, foundation, or source. When Pope satirised the social butterfly who might ‘stain her honour, or her new brocade’, he was mocking the value placed on clothing and bodily adornment, not disputing its importance, and was conveying in a few satirical words an understanding of the role of clothing which might have taken an academic commentator rather longer. 2 A commentator or describer of identities is therefore obliged to be a democratic empiricist, to begin by taking account of all aspects of behaviour, and may not dismiss anything as of no significance

in Cultivating political and public identity
Anna Hickey-Moody

. Frankie: Okay, this is a butterfly changing, this is a whirlpool, this is heaps of beer bottles, this is three knives, one pistol and a double-barrelled shotgun, these are plastic bags with bottles in them. And this is a bird getting stuck in the rubbish. (Inner-north Melbourne interview, 2019

in Faith stories
Open Access (free)
The right to imagine Mapuche Pop

Puelpan Neo Lautaro Peñi passenger of this journey You know that there is life after death And death after life As those butterflies used to say With the buzzing of their steely wings Listening to IRON MAIDEN (David Aniñir Guiltraro) A UTOPIA OUT OF PLACE ‘A utopia out of place’ was what my

in Performing the jumbled city
Open Access (free)
Language, lies and the crisis of representation in Such a Long Journey
Peter Morey

. Like Sohrab’s childhood butterfly collection whose contents nevertheless continue to decay, change and development cannot be artificially arrested. One of the most memorable personifications of this attempt to hold on to what must be allowed to pass is the eccentric spinster Miss Kutpitia. A Parsi Miss Havisham, she preserves in a locked room the belongings of her beloved nephew, Farad, killed in a car accident thirty-five years previously, and carries on conversations with the shadows in her dusty flat. Yet, in a lesson Gustad would do well to learn, an accidental

in Rohinton Mistry
Jamie Heckert

of the closet, spoke powerfully about his experiences: ‘The butterfly and chrysalis scenario – that’s what it felt like. Coming from a caterpillar into a butterfly – that’s what it felt like. To be able to just float off. That first summer when I came out, that was what it felt like. It was amazing. Absolutely amazing.’ Relief and freedom were themes that came up in many people’s stories, as was the idea of being able to be one’s true self. Betty said: ‘I don’t think you can ever be yourself until you come out on some level.’ Although most of the participants

in Changing anarchism
Reflections on contemporary anarchism, anti-capitalism and the international scene
Karen Goaman

-blue-black sea turtles, marching beneath a huge inflatable turtle. Others are dressed as business tycoons on stilts, alongside monarch butterflies, vegetables, fish and pigs. Drummers beat out the rhythms of resistance in what was to become a significant element in major summit protests. Messages on banners and placards highlight the diversity of those present, with radical environmental groups alongside indigenous rights groups and so on (Slyk, 2002: 56). The Direct Action Network has co-ordinated nonviolent direct action by ten thousand people to stop delegates entering the

in Changing anarchism