In this fast moving study, Chris Jenks presents a broad overview of the history of ideas, the major theorists and the significant moments in the formation of the idea of transgression.

Contributors from a range of disciplines explore boundary-crossing in videogames, examining both transgressive game content and transgressive player actions. Video gameplay can include transgressive play practices in which players act in ways meant to annoy, punish, or harass other players. Videogames themselves can include transgressive or upsetting content, including excessive violence. Such boundary-crossing in videogames belies the general idea that play and games are fun and non-serious, with little consequence outside the world of the game. In this book, contributors from a range of disciplines explore transgression in video games, examining both game content and player actions. The contributors consider the concept of transgression in games and play, drawing on discourses in sociology, philosophy, media studies, and game studies; offer case studies of transgressive play, considering, among other things, how gameplay practices can be at once playful and violations of social etiquette; investigate players' emotional responses to game content and play practices; examine the aesthetics of transgression, focusing on the ways that game design can be used for transgressive purposes; and discuss transgressive gameplay in a societal context. By emphasizing actual player experience, the book offers a contextual understanding of content and practices usually framed as simply problematic. Contributors Fraser Allison, Kristian A. Bjørkelo, Kelly Boudreau, Marcus Carter, Mia Consalvo, Rhys Jones, Kristine Jørgensen, Faltin Karlsen, Tomasz Z. Majkowski, Alan Meades, Torill Elvira Mortensen, Víctor Navarro-Remesal, Holger Pötzsch, John R. Sageng, Tanja Sihvonen, Jaakko Stenros, Ragnhild Tronstad, Hanna Wirman

What If? What if you were studying for your Ph.D. in archaeology and decided to take a break from your crummy life for the summer by working on an archaeological dig in Israel? What if you met a great guy in Jerusalem who happened to be a world-famous theoretical physicist working on a crazy idea to build a wormhole that might make time-travel possible ... someday? What if he had a nutball colleague who turned the theory into reality - and then decided to use YOU as a guinea pig to make sure it was safe? What if the nutball had a gun and went on a crazy, impossible mission to hunt down and kill the apostle Paul? It's A.D. 57 when Rivka Meyers walks out of the wormhole into a world she's only studied in books. Ancient Jerusalem is awesome! Rivka can't believe her friend Ari Kazan's theory actually worked. But when she runs into Ari's wacko colleague, Damien West, in the Temple, Rivka starts to smell a rat. When Ari discovers that Damien and Rivka have gone through a wormhole that's on the edge of collapse, he has to make a horrible choice: Follow them and risk never coming back - or lose the woman of his dreams forever. About The Book: Transgression is a time-travel suspense novel that mixes science, history, religion, romance, and suspense. It's about learning to stand up for yourself, when you just want to be let alone. It's about making hard decisions. It's about asking whether life has meaning and whether God exists - and becoming a badass fighter for justice, even if you don't have the answers. Transgression won the 2001 Christy award for best futuristic novel in Christian fiction. Transgression will take you on a wretched, miserable, dangerous vacation through the filthy, bandit-ridden streets of first-century Jerusalem. Transgression is the first novel in the City of God series: Book 1: Transgression (A.D. 57) Book 2: Premonition (A.D. 57-62) Book 3: Retribution (A.D. 62-66) Excerpt: Rivka turned and ran. "Ari!" she screamed. "Help!" She raced outside into the sunlight, sprinted madly through a dark grove of trees with gnarled branches. Her heart pounded in her chest. Her ragged breath rasped in her ears. Was he following? Faster! Tears fogged her eyes. Her leather sandals tore at her feet. Trying to look back over her shoulder, she tripped and fell. Dust flew up all around her. Coughing, she clambered to her feet and dared to look back. The man was nowhere in sight. Rivka panted until she caught her breath. Her left wrist throbbed from the fall. She massaged it while she squinted into the trees, afraid that the man might be lurking in the shadows. Nothing happened. Finally, she turned around to get her bearings. She blinked twice and then stared. Across a small valley massive stone walls rose. Herodian masonry. Jerusalem limestone. Towering white walls. It looked like... But that was impossible. She closed her eyes, breathed deeply three times, and opened them again. Absurd. Had she gone loony or something? Rivka had visited the Temple Mount twice and studied hundreds of pictures during three years of graduate school. But she had never seen it looking like this. So pure. So spotless. So new. Click the book cover in the upper left corner to read more.

Sexuality within mainstream Hollywood cinema features primarily in comedy or rom-com genres, where lightness of tone permits audience engagement with what would otherwise be difficult affective terrain. Focusing on marginal productions in Anglo-American contexts, this collection explores the gendered dynamics of sex and the body, particularly embodied deviations from normative cultural scripts. It explores transgressions acted through and written on the body, and the ways in which corporeality inscribes gender discourse and reflects cultural and institutional power. Films analyzed include Mysterious Skin (2004), Shame (2011), Nymphomaniac (2013), and Dallas Buyers Club (2013). Navigating queer politics, taboo fantasy, body modification, fetishism, sex addiction, and underage sex, essays problematize understandings of adult agency, childhood innocence, and healthy desire, locating sex and gender as sites of oppression, liberation, and resistance.

Julian Wolfreys introduces students to the central concept of transgression, showing how to interpret the concept from a number of theoretical standpoints. He demonstrates how texts from different cultural and historical periods can be read to examine the workings of 'transgression' and the way in which it has changed over time.

In this fast moving study, Chris Jenks presents a broad overview of the history of ideas, the major theorists and the significant moments in the formation of the idea of transgression.

The Paradox of Transgression in Games looks at transgressive games as an aesthetic experience, tackling how players respond to game content that shocks, disturbs, and distresses, and how contemporary video games can evoke intense emotional reactions. The book delves into the commercial success of many controversial videogames: although such games may appear shocking for the observing bystander, playing them is experienced as deeply rewarding for the player. Drawing on qualitative player studies and approaches from media aesthetics theory, the book challenges the perception of games as innocent entertainment, and examines the range of emotional, moral, and intellectual experiences of players. As they explore what players consider transgressive, the authors ask whether there is something about the gameplay situation that works to mitigate the sense of transgression, stressing gameplay as an aesthetic experience. Anchoring the aesthetic game experience both in play studies as well as in aesthetic theory, this book will be an essential resource for scholars and students of game studies, aesthetics, media studies, philosophy of art, and emotions.

Whereas currently, German-Polish relations are marked by irritations, the previous phase of politics and discourse from 1990 leading up to the EU-accession of Poland was marked by an increasing stress on Europe in both countries. This was connected with changing practices of cross-border cooperation as well as a change in academic border studies. Transgression as a Rule argues that resulting from this, cross-border cooperation has become a rule. The actors negotiate new, contradictory spaces for their actions: supported by the state but partly uncomfortable with it, drawing on the powerful discourse of cooperation and trying to escape from it. Their practices can also inform the practices of border studies.

Transgression means to 'cross over': borders, disciplines, practices, professions, and legislation. This book explores how the transgression of boundaries produces new forms of architecture, education, built environments, and praxis. Based on material from the 10th International Conference of the AHRA, this volume presents contributions from academics, practicing architects and artists/activists from around the world to provide perspectives on emerging and transgressive architecture. Divided into four key themes – boundaries, violations, place and art practice - it explores global processes, transformative praxis and emerging trends in architectural production, examining alternative and radical ways of practicing architecture and reimagining the profession. The wide range of international contributors are drawn from subject areas such as architecture, cultural geography, urban studies, sociology, fine art, film-making, photography, and environmentalism, and feature examples from regions such as the United States, Europe and Asia. At the forefront of exploring inter-disciplinary and trans-disciplinary research and practice, Transgression will be key reading for students, researchers and professionals with an interest in the changing nature of architectural and spatial disciplines.

This book is an anthology of the varied strategies of spatial transgressions and how they have been implemented through the arts as a means to resist, rejuvenate, reclaim, critique or cohabitate. The book is divided into two sections – Displacements and Disruptions. The first section discusses the ramifications of the spatial displacements of bodies, organizations, groups of people and ethnicities, and explores how artists, theorists and arts organizations have an attentive history of revealing and reacting to the displacement of peoples and how their presence or absence radically reconfigures the value, identity, and uses of place. In the second section, each author considers how aesthetic strategies have been utilized to disrupt expected spatial experiences and logic. Many of these strategies form radical alternative methodologies that include transgressions, geographies of resistance, and psychogeographies. These spatial performances of disruption set into motion a critical exchange between the subject, space and materiality, in which ideology and experience are both produced/spatialized and deconstructed/destabilized.