Erring

"Erring is a thoughtful, often brilliant attempt to describe and enact what remains of (and for) theology in the wake of deconstruction. Drawing on Hegel, Nietzsche, Derrida, and others, Mark Taylor e

An emotionally raw and resonant story of love, loss, and the enduring power of friendship, following the lives of two young women connected by a home for “fallen girls,” and insp

Who killed Hansie Cronje and Bob Woolmer? Have players from the national squad been involved in match-fixing? Is suspending IPL teams punishment enough for erring franchise owners? Should betting be m

""Nightwalking is, in both the physical and the moral meanings of the term, deviant. At night, in other words, the idea of wandering cannot be dissociated from the idea of erring - wanderring. This el

The study discusses the Old Testament's parable of Nathan and the subsequent condemnation of King David. The intriguing episode of the Prophet Nathan pronouncing judgment on the erring King David has

A taxi driver’s life is dangerous work. Picking up a bad customer can leave the driver in a vulnerable position, and erring even once can prove fatal. To protect themselves, taxi drivers must quickly

Compares six 19th century novels of adultery from around the world to show how they reflect the judgments made on erring wives by hypocritical societies.

Verdi's operas - composed between 1839 and 1893 - portray a striking diversity of female protagonists: warrior women and peacemakers, virgins and courtesans, princesses and slaves, witches and gypsies, mothers and daughters, erring and idealised wives, and, last of all, a feisty quartet of Tudor townswomen in Verdi's final opera, Falstaff. Yet what meanings did the impassioned crises and dilemmas of these characters hold for the nineteenth-century female spectator, especially during such a turbulent span in the history of the Italian peninsula? How was opera shaped by society - and was society similarly influenced by opera? Contextualising Verdi's female roles within aspects of women's social, cultural and political history, Susan Rutherford explores the interface between the reality of the spectators' lives and the imaginary of the fictional world before them on the operatic stage.

Verdi's operas - composed between 1839 and 1893 - portray a striking diversity of female protagonists: warrior women and peacemakers, virgins and courtesans, princesses and slaves, witches and gypsies, mothers and daughters, erring and idealised wives, and, last of all, a feisty quartet of Tudor townswomen in Verdi's final opera, Falstaff. Yet what meanings did the impassioned crises and dilemmas of these characters hold for the nineteenth-century female spectator, especially during such a turbulent span in the history of the Italian peninsula? How was opera shaped by society - and was society similarly influenced by opera? Contextualising Verdi's female roles within aspects of women's social, cultural and political history, Susan Rutherford explores the interface between the reality of the spectators' lives and the imaginary of the fictional world before them on the operatic stage.