Victorian England: a Jesuit priest writes of wrestling with God at night, limbs entangled; an Anglican sister begs Jesus, her divine lover, to end her aching anticipation of their union; a clergyman exhorts nuns to study the example of medieval women who suffered on the rack in order to become "brides" of Christ. Alongside the march of nineteenth-century progress ran a seemingly paradoxical fascination with a dark, erotically suggestive side of religious devotion: the figuration of the Christian God as a heavenly bridegroom who doles out punishment to his bride, the individual soul. Through innovative case studies of Victorian religious poetry, Amanda Paxton reveals that while the punitive model proved a convenient rhetorical tool with which to deflate burgeoning nineteenth-century campaigns for women’s rights and challenges to Church authority, in the hands of several writers it also provided a means of resisting patriarchal institutions and interrogating distinctions between science and religion. Willful Submission is the first full-length volume to examine the interplay of sex, suffering, and religion as a touchstone in Victorian culture and verse.

Special edition of the Federal Register, containing a codification of documents of general applicability and future effect ... with ancillaries.

Explores the twisted world of Islamic terror in an examination of how terrorists's skill at using and abusing the U.S. legal system has led to redefining war as a normal criminal issue in the courts.

In Historical Theology for the Church, editors Jason Duesing and Nathan Finn bring together top contributors to survey key doctrinal developments in every era of church history. They not only trace the development of various doctrines within historical congregations; they also provide a resource for contemporary congregations. Steered by the conviction that historical theology serves the church both local and global, each chapter concludes with an application section that clarifies the connection between the historical doctrine being covered and the Christian church today.

Second Takes presents the history of English language cinema by focusing on cinematic remakes and on how cinema has been replaced by new forms of "media." Remakes, with their innate plurality, offer the most substance for concentrated cultural analysis of how movies reflect and shape American culture. Analyzing the archetypes that recur in this culture reveals how movies are an increasingly dangerous surrogate for the actual. Close readings are presented of such works as popular favorites as Cronenberg's Crash, Disney's The Parent Trap, Ferrara's Bad Lieutenant, Hitchcock's Psycho, Kubrick's A Clockwork Orange, Lynch's Twin Peaks (the film) and Welles' The Magnificent Ambersons, while unearthing pictures ripe for rediscovery such as One More Tomorrow, Strange Illusion and Andy Warhol's Vinyl. Instructors considering this book for use in a course may request an examination copy here.

We live in a world in which there is great confusion about what it means to be a Christian and what it means to have genuine faith. Faith is more than belief, and being a Christian is more than attending a church service, a Bible study, or helping out the poor and needy. True faith, genuine faith in Christ, is not something that we need to convince people that we possess. Instead, true faith is seen through who we are and what we do. More Than Words is a book about faith. It is not so much a book about what faith is but instead what true faith looks like. More Than Words is a practical study of the book of James and provides understanding to what a life truly surrendered to Christ looks like and how it is to be lived. More Than Words will encourage and challenge you to examine your hearts and life to see if the faith you claim to have is truly a biblical faith.

Ordinary Masochisms reveals how literary works from the nineteenth and twentieth centuries frequently challenged the prevailing view of masochism as a deviant behavior, an opinion supported by many sexologists and psychoanalysts in the 1800s. In these texts, Jennifer Mitchell highlights everyday examples of characters deriving pleasure from pain in encounters and emotions such as flirtations, courtships, betrothals, lesbian desires, religious zeal, marital relationships, and affairs. Mitchell begins by examining the archetypal tale of Samson and Delilah together with Venus in Furs by Leopold von Sacher-Masoch, from whom masochism gets its name. Through close readings, Mitchell then argues that Charlotte Brontë’s Villette, George Moore’s A Drama in Muslin, D. H. Lawrence’s The Rainbow, and Jean Rhys’s Quartet all experiment with masochistic relationships that are more complex than they seem. Mitchell shows that, far from being victimized, the characters in these works achieve self-definition and empowerment by pursuing and performing pain and that masochism is a generative response rather than a destructive force beyond their control. Including readings of Octave Mirbeau’s The Torture Garden and Ian McEwan’s The Comfort of Strangers, Mitchell traces shifts in public consciousness regarding sex and gender and discusses why masochism continues to be categorized as a perversion today. The literary world, she asserts, has repeatedly questioned this notion as well as masochism’s associations with passivity and femininity, using the behavior to defy heteronormative and heteropatriarchal gender dynamics.

Trajectory of the Twenty-first Century explores what many prophets of the twentieth century, such as Oswald Spengler, Paul Tillich, Aldous Huxley, Jacques Ellul, and others, have predicted would transpire in the current century. Their vision included an out-of-control technological system and a return to religious sentiment that will ultimately undermine the system to which it is reacting. This book aims to accurately present their positions and draw certain logical conclusions from them that pertain to the course of history in our time. The book's theme argues that modernity is a secularized version of millennial Christianity, which reaches its fullest development in the twenty-first century and will regress into what Russian philosopher Nicholas Berdyaev called "the new Middle Ages" or a new religious period. This will mean the twilight of modern technological society, as its values of rationalism give way to a postrationalist society. Ironically, decline will come through further technological advance. Omnicide threatens through religious world war driven by transcendent values and modern weaponry. Jihadist thinking and posthumanist technology both establish the omnicidal mentatlity. New technologies such as genetic engineering and artificial intelligence created under millennial inspiration to reach for immortality could potentially bring an end to the human species either through a slow, steady obsolescence or through environmental catastrophe. The titanic forces of technological progress and regress are on a direct collision course in the twenty-first century.