Ironic Sacrifice

Jayden Leigh wants to commit suicide. Her clairvoyant powers have become so intense that she lost her job and home. Death is the only way to make them stop. Opportunity presents itself when she comes across a sinfully handsome vampire ready to make a kill. Jayden begs for him to take her instead. A blissful death in his arms, or the visions ravaging her mind? She'd gladly take the vampire. Razvan Nicolae is captivated and amused by the beautiful seeress who sacrifices herself for a stranger. Killing such a pleasing asset doesn’t interest him. If he could get her powers under control, she just might be the key to finding his missing twin. Controlling her visions and working for a seductive vampire? Razvan’s offer is like a dream come true. But her dream turns into a nightmare when a mad vampire cult leader seeks to exploit Jayden’s powers to stop an ancient prophecy. As Jayden finds herself at the center of a vampire war, she realizes that the biggest threat isn’t losing her life, it’s losing her heart. "A great plot and great character interaction. New characters are introduced along with the characters from Wrenching Fate. This paranormal romance is full of excitement and tension which keeps sucking you further into the story." All Things Book Reviews "Vampires with souls, humans with power, a writer with style that makes you crave more!" -Cinfully Wonderful Book Reviews "An action-filled vampire romance full of twists and turns." -Shona Husk- Author of The Court of Anwyn Series.

The Ironic Temper and the Comic Imagination examines and illuminates the role which the ironic temper plays in the creation of complex literary comedy. The book focuses on ironic comedy, though not of the kind that is characterized by the surprises and shocks, the incongruities and reversals, of circumstantial irony. Circumstantial—or situational—irony cannot stand alone; it serves, for example, the aggressive functions of satire, or the irrational impulses of farce, or the benevolent, whimsical, or pain-defeating energies of humor.

Exodus, Reckoning, Sacrifice offers a very different take on Brexit to those found in most news segments or opinion pieces. Kalypso Nicolaïdis, Professor of International Relations at Oxford University, examines Britain's relationship with the EU through the lens of Greek mythology, using three key archetypes to analyse the differing visions of the world that have clashed so dramatically over this issue. 'Exodus' makes Brexit a story about British exceptionalism; both a British problem and a testimony to the EU’s incapacity to accommodate exceptions. 'Reckoning' brings the story back to the EU’s shores, with Brexit a harbinger of terrible truths which we lump together under the easy label of euroscepticism. And 'Sacrifice' contends with the ironic possibility that after and perhaps because of Brexit, the EU will live up to the pluralist ideals that define both the best of Britain and the best of Europe. Ultimately, the book contains a plea for acknowledging each other’s stories, with their many variants, ambiguities and contradictions. And in this spirit of recognition, it calls for a mutually respectful, do-no-harm Brexit – the smarter, kinder and gentler Brexit possible in our hard-edged epoch of resentment and frustration.

On 18 December 1854 Kierkegaard began to publish a series of newspaper articles critical of the Danish state church. This book views these writings not only in the context of the theological, philosophical, and social events of that time but also the 2005-2006 Danish cartoon controversy.

“But many who are first will be last, and the last first.” –Matthew 19:30 The Bible is full of ironic situations in which God overturns the world’s wisdom by doing the opposite of what is expected—people are punished by their own sin, the persecution of the church is the catalyst for its growth, Paul claims to have strength through weakness, and more. In this book, biblical scholar G. K. Beale explores God’s pattern of divine irony in both judgment and salvation, finding its greatest expression in Jesus’s triumph over death through death on a cross. Unpacking this pattern throughout redemptive history, Beale shows us how God often uses what is seemingly weak and foolish to underscore his own strength and power in the lives of his people today.

Cinema has a long history of engaging with the theme of sacrifice. Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. It is on screen that the new grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Sacrifice can provide stories of loss and mourning, betrayal and redemption, death and renewal, destruction and re-creation, apocalypses and the birth of new worlds. The contributors to this volume are not just scholars of film but also students of religion and literature, philosophers, ethicists, and political scientists, thus offering a comprehensive and interdisciplinary approach to the relationship between cinema and sacrifice. They explore how cinema engages with sacrifice in its many forms and under different guises, and examine how the filmic constructions, reconstructions and misconstructions of sacrifice affect society, including its sacrificial practices. This book was originally published as a special issue of Angelaki: journal of the theoretical humanities.

An examination of the philosophical notion of sacrifice from Kant to Nietzsche. In this book, Paolo Diego Bubbio offers an alternative to standard philosophical accounts of the notion of sacrifice, which generally begin with the hermeneutic and postmodern traditions of the twentieth century, starting instead with the post-Kantian tradition of the nineteenth century. He restructures the historical development of the concept of sacrifice through a study of Kant, Solger, Hegel, Kierkegaard, and Nietzsche, and shows how each is indebted to Kant and has more in common with him than is generally acknowledged. Bubbio argues that although Kant sought to free philosophical thought from religious foundations, he did not thereby render the role of religious claims philosophically useless. This makes it possible to consider sacrifice as a regulative and symbolic notion, and leads to an unorthodox idea of sacrifice: not the destruction of something for the sake of something else, but rather a kenotic emptying, conceived as a withdrawal or a “making room” for others.