Counterpleasures takes up a series of literary and physical pleasures that do not appear to be pleasurable, ranging from saintly asceticism to Sadean narrative to leathersex. Each is placed in its cultural context to unfold a history of transgressive pleasure and to argue for the value and power of such pleasures as resistant to more totalizing forms of power.

Isaiah, Jeremiah, and Ezekiel share much in common. They address the pivotal times and topics associated with the last stages of the monarchical history of Israel, and with the development of new forms of communal and religious life through exile and beyond. One important structural component of all three books is a substantial section which concerns itself with a range of foreign nations, commonly called the “Oracles against the Nations”, which form the focus of this book. These chapters together present the most up-to-date scholarship on the oracles - an oft-neglected but significant area in the study of the prophetic literature. The particular characteristics of Isaiah, Jeremiah (both Masoretic Text and Septuagint versions), and Ezekiel, are discussed showcasing the unique issues pertinent to each book and the diverse methods used to address them. These evident differences aside, the Oracles Against the Nations are employed as a springboard in order to begin the work of tracing similarities between the texts. By focusing on these unique yet common sections, a range of interrelated themes and issues of both content and method become noticeable: for example, though not exhaustively, pattern, structure, language, comparative history, archaeology, sociology, politics, literature, imagery, theme, theology, and hermeneutical issues related to today's context. As a result this collection presents a range of cutting-edge approaches on these key prophetic books, and will provide a basis for further comparative study and reflection.

God gives Green Stamps. A look at the theological and economic meanings of redemption.

Has a repressive morality been the primary contribution of Christianity to the history of sexuality? The ascetic concerns that pervade ancient Christian texts would seem to support such a common assumption. Focusing on hagiographical literature, Virginia Burrus pursues a fresh path of interpretation, arguing that the early accounts of the lives of saints are not antierotic but rather convey a sublimely transgressive "countereroticism" that resists the marital, procreative ethic of sexuality found in other strands of Christian tradition. Without reducing the erotics of ancient hagiography to a single formula, The Sex Lives of Saints frames the broad historical, theological, and theoretical issues at stake in such a revisionist interpretation of ascetic eroticism, with particular reference to the work of Michel Foucault and Georges Bataille, David Halperin and Geoffrey Harpham, Leo Bersani and Jean Baudrillard. Burrus subsequently proceeds through close, performative readings of the earliest Lives of Saints, mostly dating to the late fourth and early fifth centuries—Jerome's Lives of Paul, Malchus, Hilarion, and Paula; Gregory of Nyssa's Life of Macrina; Augustine's portrait of Monica; Sulpicius Severus's Life of Martin; and the slightly later Lives of so-called harlot saints. Queer, s/m, and postcolonial theories are among the contemporary discourses that prove intriguingly resonant with an ancient art of "saintly" loving that remains, in Burrus's reading, promisingly mobile, diverse, and open-ended.

Contesting the feminist critique of the dangers of Christianity's self-giving ethics, this book advances a contemporary feminist christology engaging the strength of self-giving power.

Academic theology is in need of a new genre. In "Transgressive Devotion" Natalie Wigg-Stevenson articulates a theological vision of that genre as performance art. She argues that theology done as performance art stops trying to describe who God is, and starts trying to make God appear. Recognising that the act of studying theology or practicing ministry is always a performance, where the boundaries between what we see, feel, experience and learn are not just blurred but potentially invisible, Wigg-Stevenson brings together ethnographic theological fieldwork, historical and contemporary Christian theological traditions, and performance artworks themselves. A daring vision of theology which will energise anybody feeling ‘boxed in’ by the discipline, Transgressive Devotion blurs borders between orthodoxy, heterodoxy and heresy to reveal how the very act of doing theology makes God and humanity vulnerable to each other. This is theology which is a liturgy of Divine incantation. In other words: this is theology which is also prayer.

What does theology have to say about the place of eroticism in the salvific transformation of men and women, even of the cosmos itself? How, in turn, does eros infuse theological practice and transfigure doctrinal tropes? Avoiding the well-worn path of sexual moralizing while also departing decisively from Anders Nygren’s influential insistence that Christian agape must have nothing to do with worldly eros, this book explores what is still largely uncharted territory in the realm of theological erotics. The ascetic, the mystical, the seductive, the ecstatic—these are the places where the divine and the erotic may be seen to converge and love and desire to commingle. Inviting and performing a mutual seduction of disciplines, the volume brings philosophers, historians, biblical scholars, and theologians into a spirited conversation that traverses the limits of conventional orthodoxies, whether doctrinal or disciplinary. It seeks new openings for the emergence of desire, love, and pleasure, while challenging common understandings of these terms. It engages risk at the point where the hope for salvation paradoxically endangers the safety of subjects—in particular, of theological subjects—by opening them to those transgressions of eros in which boundaries, once exceeded, become places of emerging possibility. The eighteen chapters, arranged in thematic clusters, move fluidly among and between premodern and postmodern textual traditions—from Plato to Emerson, Augustine to Kristeva, Mechthild to Mattoso, the Shulammite to Molly Bloom, the Zohar to the Da Vinci Code. In so doing, they link the sublime reaches of theory with the gritty realities of politics, the boundless transcendence of God with the poignant transience of materiality.

Argues for the queer potential of video games While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can—and should—be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games—because video games have, in fact, always been queer.

The essays in Bible Trouble all engage queer theories for purposes of biblical interpretation, a rare effort to date within biblical scholarship. The title phrase “Bible Trouble” plays on Judith Butler's Gender Trouble, gesturing toward a primary text for contemporary queer theory. The essays consider, among others, the Lazarus story, the Ethiopian eunuch, “gender trouble” in Judges 4 and 5, the Song of Songs, and an unorthodox coupling of the books of Samuel and the film Paris Is Burning. This volume “troubles” not only the boundaries between biblical scholarship and queer theory but also the boundaries between different frameworks currently used in the analysis of biblical literature, including sexuality, gender, race, class, history, and literature. The contributors are Ellen T. Armour, Michael Joseph Brown, Sean D. Burke, Heidi Epstein, Deryn Guest, Jione Havea, Teresa J. Hornsby, Lynn R. Huber, S. Tamar Kamionkowski, Joseph A. Marchal, Jeremy Punt, Erin Runions, Ken Stone, Gillian Townsley, Jay Twomey, and Manuel Villalobos.

How is decadence being staged today – as a practice, issue, pejorative, and as a site of pleasure? Where might we find it, why might we look for it, and who is decadence for? This book is the first monographic study of decadence in theatre and performance. Adam Alston makes a passionate case for the contemporary relevance of decadence in the thick of a resurgent culture war by focusing on its antithetical relationship to capitalist-led growth, progress, and intensified productivity. He argues that the qualities used to disparage the study and practice of theatre and performance are the very things we should embrace in celebrating their value – namely, their spectacular uselessness, wastefulness, outmodedness, and abundant potential for producing forms of creativity that flow away from the ends and excesses of capitalism. Alston covers an eclectic range of examples by Julia Bardsley (UK), Hasard Le Sin (Finland), jaamil olawale kosoko (USA), Toco Nikaido (Japan), Martin O'Brien (UK), Toshiki Okada (Japan), Marcel·lí Antúnez Roca (Spain), Normandy Sherwood (USA), The Uhuruverse (USA), Nia O. Witherspoon (USA), and Wunderbaum (Netherlands). Expect ruminations on monstrous scenographies, catatonic choreographies, turbo-charged freneticism, visions of the apocalypse – and what might lie in its wake.