Malls, stadiums, and universities are actually liturgical structures that influence and shape our thoughts and affections. Humans--as Augustine noted--are "desiring agents," full of longings and passions; in brief, we are what we love. James K. A. Smith focuses on the themes of liturgy and desire in Desiring the Kingdom, the first book in what will be a three-volume set on the theology of culture. He redirects our yearnings to focus on the greatest good: God. Ultimately, Smith seeks to re-vision education through the process and practice of worship. Students of philosophy, theology, worldview, and culture will welcome Desiring the Kingdom, as will those involved in ministry and other interested readers.

Although the reception of the Eastern Father Gregory of Nyssa has varied over the centuries, the past few decades have witnessed a profound awakening of interest in his thought. The Body and Desire sets out to retrieve the full range of Gregory’s thinking on the challenges of the ascetic life by examining within the context of his theological commitments his evolving attitudes on what we now call gender, sex, and sexuality. Exploring Gregory’s understanding of the importance of bodily and spiritual maturation for the practices of contemplation and virtue, Raphael A. Cadenhead recovers the vital relevance of this vision of transformation for contemporary ethical discourse.

I simply cannot praise the book enough! The prose is positively brilliant. It is full of sparkling gems of insight and astonishing, concise yet profound formulations. The nature passages remind me of Annie Dillard. It is truly a remarkable achievement! Miranda Shaw, Ph.D., Professor of Religion, University of Richmond

2021 Independent Publisher Book Awards, Gold Medal Winner 2021 National Indie Excellent Awards Finalist 2020 Bronze Award for Travel Book or Guide from the North American Travel Journalists Association 2020 Bronze Winner for Travel in the Foreword INDIES Both a memoir in travel essays and an anti-guidebook, Bad Tourist takes us across four continents to fifteen countries, showing us what not to do when traveling. A woman learning to claim her own desires and adventures, Suzanne Roberts encounters lightning and landslides, sharks and piranha-infested waters, a nightclub drugging, burning bodies, and brief affairs as she searches for the love of her life and finally herself. Throughout her travels Roberts tries hard not to be a bad tourist, but owing to her cultural blind spots, things don’t always go as planned. Fearlessly confessional, shamelessly funny, and wholly unapologetic, Roberts offers a refreshingly honest account of the joys and absurdities of confronting new landscapes and cultures, as well as new versions of herself. Raw, bawdy, and self-effacing, Bad Tourist is a journey packed with delights and surprises—both of the greater world and of the mysterious workings of the heart.

Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, the author argues that medieval music was quintessentially a practice of the flesh. It will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies.

Because performance is by its very nature ephemeral, it elicits a desire for what is lost more than any other form of art making. But what is the nature of that desire, and on what models has it been structured? How has it affected the ways in which the history of performance art gets told? In What the Body Cost, Jane Blocker revisits key works in performance art by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, and others to challenge earlier critiques that characterize performance, or body art, as a purely revolutionary art form and fail to recognize its reactionary-and sometimes damaging-effects. The scholarship to date on performance art has not, she finds, gone far enough in locating the body at the center of the performance, nor has it acknowledged the psychic, emotional, or social costs exacted on that body. Drawing on the work of critical theorists such as Roland Barthes and Catherine Belsey, as well as queer theory and feminism, What the Body Cost reads against patriarchal and heteronormative tendencies in art history while providing a corrective to the established view that performance art is necessarily transgressive. Instead, Blocker suggests that the historiography of performance art is a postmodern lovers' discourse in which practitioners, historians, and critics alike fervently seek the body while doubting it can ever be found. Jane Blocker is assistant professor of art history at the University of Minnesota and author of Where Is Ana Mendieta? Identity, Performativity, and Exile (1999).

The idea that the human body consists of 'subtle bodies' - psycho-spiritual essences - can be found in a variety of esoteric traditions. This radical form of selfhood challenges the dualisms at the heart of Western discourse : mind/body, divine/human, matter/spirit, reason/emotion, I/other. 'Angels of Desire' explores the aesthetics and ethics of subtle bodies. What emerges is an understanding of embodiment not exclusively tied to materiality. The book examines the use of subtle bodies across a range of traditions, yogic, tantric, theosophical, hermetic and sufi. 'Angels of Desire' shows the relevance of the subtle body for religion, philosophy, art history and contemporary feminist religious studies and theories of desire.

Winner, LGBT Studies Lammy Award presented by Lambda Literary Neither queer theory nor queer activism has fully reckoned with the role of race in the emergence of the modern gay subject. In A Taste for Brown Bodies, Hiram Pérez traces the development of gay modernity and its continued romanticization of the brown body. Focusing in particular on three figures with elusive queer histories—the sailor, the soldier, and the cowboy— Pérez unpacks how each has been memorialized and desired for their heroic masculinity while at the same time functioning as agents for the expansion of the US borders and neocolonial zones of influence. Describing an enduring homonationalism dating to the “birth” of the homosexual in the late 19th century, Pérez considers not only how US imperialist expansion was realized, but also how it was visualized for and through gay men. By means of an analysis of literature, film, and photographs from the 19th to the 21st centuries—including Herman Melville’s Billy Budd, Anne Proulx’s “Brokeback Mountain,” and photos of abuse at the Abu Ghraib prison—Pérez proposes that modern gay male identity, often traced to late Victorian constructions of “invert” and “homosexual,” occupies not the periphery of the nation but rather a cosmopolitan position, instrumental to projects of war, colonialism, and neoliberalism. A Taste for Brown Bodies argues that practices and subjectivities that we understand historically as forms of homosexuality have been regulated and normalized as an extension of the US nation-state, laying bare the tacit, if complex, participation of gay modernity within US imperialism.

An examination of how bodies and sexualities have been constructed, categorised, represented, diagnosed, experienced and subverted from the fifteenth to the early twenty-first century. It draws attention to continuities in thinking about bodies and sex: concept may have changed, but hey nevertheless draw on older ideas and language.

Working Out Desire examines spor meraki as an object of desire shared by a broad and diverse group of Istanbulite women. Sehlikoglu follows the latest anthropological scholarship that defines desire beyond the moment it is felt, experienced, or even yearned for, and as something that is formed through a series of social and historical makings. She traces Istanbulite women’s ever-increasing interest in exercise not merely to an interest in sport, but also to an interest in establishing a new self—one that attempts to escape from conventional feminine duties—and an investment in forming a more agentive, desiring, self. Working Out Desire develops a multilayered analysis of how women use spor meraki to take themselves out of the domestic zone physically, emotionally, and also imaginatively. Sehlikoglu pushes back against the conventional boundaries of scholarly interest in Muslim women as pious subjects. Instead, it places women’s desiring subjectivity at its center and traces women’s agentive aspirations in the way they bend the norms which are embedded in the multiple patriarchal ideologies (i.e. nationalism, religion, aesthetics) which operate on their selves. Working out Desire presents the ways in which women's changing habits, leisure, and self-formation in the Muslim world and the Middle East are connected to their agentive capacities to shift and transform their conditions and socio-cultural capabilities.