School bonding has been identified as a protective factor for a broad range of adolescent outcomes, and it is thus important to identify factors that foster positive relationships with school. The ecological perspective suggests the importance of both individual and contextual antecedents across developmental periods, yet previous research has tended to examine only a narrow selection of school bonding correlates. This study sought to identify longitudinal influences on school bonding, examining the role of both individual and contextual factors over childhood and early adolescence. We draw on data from 1,308 participants (51% female) in the Australian Temperament Project, a large representative Australian sample that has followed the psychosocial development of participants from infancy to adulthood, and thus provides a rare opportunity to address this gap in the literature. Path analysis was conducted to examine individual and contextual predictors of school bonding at 15–16 years. The individual characteristics of higher academic achievement and sociability, and lower hyperactivity predicted school bonding. Contextual factors also made a significant contribution, including the parent–child relationships and maternal education. The results indicate that both individual and contextual factors make unique contributions to school bonding in adolescence, suggesting a number of potential targets for intervention.

The title of this issue, ‘Performance Studies and Opera’, optimistically announces a conjunction between two disciplines that have previously had surprisingly little to do with each other, despite substantial common ground. The three articles gathered here, however, bear marks both of the excitement sparked by the novelty of bringing the methods of performance studies to bear on opera (significantly, the reverse process, operatic theory used to interpret other modes of performance, remains almost unimaginable) and a caution occasioned by their authors' sensitivity to the difficulties involved in any such translation.

Anniversary years always prompt revaluation as well as celebration, and the centenary of Verdi's death in 2001 was no exception. The conference for which the articles in this issue were written came at the end of a year packed with Verdi celebrations in both opera houses and academic settings. In terms of performance, a handful of ostentatious critical failures in 2001 sparked new debate about two old issues – the pros and cons of revisionist staging in general, and the degree to which contemporary productions should be faithful to what we can glean of the composer's intentions. These edgy, sometimes irreverent productions prompted the critic for the New Yorker magazine, Alex Ross, to declare that Verdi should be exempt from the rigours and indignities of Regietheater. While the abstraction of Wagnerian drama might reward updated settings spiked with flashes of contemporary social critique, he suggested, Verdi's operas work because the composer ‘meant every word’ and because their dramatic force is propelled by unadulterated emotion and sharp juxtapositions, qualities too direct and ‘site-specific’ to tolerate stagings that draw out hidden contexts or ironize dramatic conventions. In what quickly began to sound like a back-handed defence, Ross pronounced: ‘To the analytical mind such music can look crude, even vulgar on the page. Only in live performances, when the momentum begins to build and the voices become urgent, does it catch fire. But how do you go about analyzing momentum and urgency?’

Carolyn Heilbrun, Writing a Woman's Life

Until recently, women's biography and feminist interpretation of texts have travelled along separate paths, the exhaustive documentation required by biography often seeming to overwhelm efforts at interpretation, dictating that the genre remain essentially conservative and anti-theoretical. This is unfortunate, if only because it is in the writing of women's lives that biography and theory may need each other most. The women we examine are sometimes minor figures, ordinary people most interesting when seen as emblematic of a broader context; and of course they rarely lived according to modern feminist principles: what does one make of a talented woman who devoted her life more to caring for men than for herself? Such situations present conundrums that simultaneously resist and require the solace of theory.

In Act III of Donizetti's Lucia di Lammermoor, the chaplain Raimondo appears at the wedding celebrations to tell the assembled guests that Lucia has murdered her husband Arturo. While the chorus expresses shock, Lucia enters, dishevelled and deranged; the crowd turns towards her, murmuring ‘Par dalla tomba uscita!’ This image of a figure emerging from the grave, certainly apt by nineteenth-century poetic standards, also suggests itself as a contemporary metaphor: a shift in critical reception. Traditionally, a noisy chorus of operatic critics has regarded Lucia with a mixture of fascination and horror, emphasising the sepulchral aspects of her madness. Recently, however, a rather surprising resurrection has been effected through the notion, popular among some feminist critics, that Lucia's mental decline could be interpreted as positive, even liberatory. This view has been expressed most flamboyantly by Catherine Clément, for whom madness is one of the few ways an operatic heroine can escape the near-inevitable plot process of seduction and death. Her effusions on Lucia's mad scene illustrate this position vividly: ‘Lucia dances with her desires: listen how joyful, airy and peaceful it is. Who says anything about unhappiness? Madwomen's voices sing the most perfect happiness’