Fifteen writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa, focusing on a wide range of perspectives, personalities and theoretical concerns. Contemporary South African society is chronologically ‘post’ apartheid, but it continues to grapple with material redress, land redistribution and systemic racism. Acts of Transgression represents the complexity of this moment in the rich potential of a performative art form that transcends disciplinary boundaries and aesthetic conventions. The contributors, who are all significantly involved in the discipline of performance art, probe its intersection with crisis and socio-political turbulence, shifting notions of identity and belonging, embodied trauma and loss. Narratives of the past and visions for the future are interrogated through memory and the archive, thus destabilising entrenched colonial systems. Collectively analysing the work of more than 25 contemporary South African artists, including Athi-Patra Ruga, Mohau Modisakeng, Steven Cohen, Dean Hutton, Mikhael Subotzsky, Tracey Rose and Donna Kukama, among others, the analysis is accompanied by a visual record of more than 50 photographs. For those working in the fields of theatre, performance studies and art, this is a must-have collection of critical essays on a burgeoning and exciting field of contemporary South African research.

Fifteen writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa, focusing on a wide range of perspectives, personalities and theoretical concerns Contemporary South African society is chronologically ‘post’ apartheid, but it continues to grapple with material redress, land redistribution and systemic racism. Acts of Transgression represents the complexity of this moment in the rich potential of a performative art form that transcends disciplinary boundaries and aesthetic conventions. The contributors, who are all significantly involved in the discipline of performance art, probe its intersection with crisis and socio-political turbulence, shifting notions of identity and belonging, embodied trauma and loss. Narratives of the past and visions for the future are interrogated through memory and the archive, thus destabilising entrenched colonial systems. Collectively analysing the work of more than 25 contemporary South African artists, including Athi-Patra Ruga, Mohau Modisakeng, Steven Cohen, Dean Hutton, Mikhael Subotzsky, Tracey Rose and Donna Kukama, among others, the analysis is accompanied by a visual record of more than 50 photographs. For those working in the fields of theatre, performance studies and art, this is a must-have collection of critical essays on a burgeoning and exciting field of contemporary South African research.

The subjects of Laura Bush's book are six Mormon women writers and their published autobiographies. The central issue Bush finds in these works is how their authors have dealt with the authority of Mormon Church leaders.

Genius and the Spirit of Transgression -- Symbols of the Morally Bad -- Evil and the Sublime -- Wicked Spectators.

Accounts of women's transgressive behavior in eighteenth-century literature and social documents have much to teach us about constructions of femininity during the period often identified as having formed our society's gender norms. Lewd and Notorious explores the eighteenth century's shadows, inhabited by marginal women of many kinds and degrees of contrariness. The reader meets Laetitia Pilkington, whose sexual indiscretions caused her to fall from social and literary grace to become an articulate memoirist of personal scandal, and Elizabeth Brownrigg, who tortured and starved her young servants, propelling herself to an infamy comparable to Susan Smith's or Myra Hindley's. More awful women wait between these covers to teach us about society's reception (and construction) of their debauchery and dangerousness. The authors draw upon a rich range of contemporary texts to illuminate the lives of these women. Astute analysis of literary, legal, evangelical, epistolary, and political documents provides an understanding of 1700s womanhood. From lusty old maids to murderous mistresses, the characters who exemplify this period's vision of women on the edge are essential acquaintances for anyone wishing to understand the development and ramifications of conceptions of femininity.

The sex laws of the Hebrew Bible are well known, if not notorious. From them many have concluded that in ancient Israel adultery was a capital crime, that there was no conception of rape, that brides had to be virgins, and that women had no autonomy whatsoever. But was that the reality? Not if we broaden our horizon beyond the laws, argues Lipka, who focusses here on sexual transgression, that is, the trespass against sexual boundaries. She finds three aspects of sexual transgression: it may be transgression against religious boundaries (sexual acts violating divine law), against communal boundaries (sexual acts violating the rights of another member of the community), or against personal boundaries (sexual acts imposed by force and/or violence). Transgressive sex is complicated. But some conclusions are possible. (1) Though adultery was universally disapproved of, there was a wide variety of opinions on who was considered guilty, who was considered the offended party, who was punished, what the punishment was, and who should execute it. (2) There was indeed a conception of rape, with an understanding of its devastating emotional and psychological consequences for the victim. (3) Though virginity in brides was the norm, and young women were under a great deal of pressure to preserve their virginity, it was unrealistic for all men in ancient Israel to expect their wives to be virgins. (4) Women did not enjoy legal autonomy over their sexuality, yet they were not completely powerless; they had some degree of personal sexual autonomy, and some took the liberty of doing with their bodies as they pleased.

Challenges our understanding of transgression-- its causes, goals, and motives-- across a comprehensive reading of South Korean media