In Ironies of Faith, celebrated Dante scholar and translator Anthony Esolen provides a profound meditation upon the use and place of irony in Christian art and in the Christian life. Beginning with an extended analysis of irony as an essentially dramatic device, Esolen explores those manifestations of irony that appear prominently in Christian thinking and art: ironies of time (for Christians believe in divine Providence, but live in a world whose moments pass away); ironies of power (for Christians believe in an almighty God who took on human flesh, and whose "weakness" is stronger than our greatest enemy, death); ironies of love (for man seldom knows whom to love, or how, or even whom it is that in the depths of his heart he loves best); and the figure of the Child (for Christians ever hear the warning voice of their Savior, who says that unless we become like unto one of these little ones, we shall not enter the Kingdom of God). Esolen's finely wrought study draws from Augustine, Dante, Shakespeare, Tolkien, Mauriac, Milton Herbert, Hopkins, and Dostoyevsky, among others, including the anonymous author of the medieval poem Pearl. Such authors, Anthony Esolen believes, teach us that the last laugh is on the world, because that grim old world, taking itself so seriously that even its laughter is a sneer, will finally - despite its proud resistance - be redeemed. That is the ultimate irony of faith. Readers who treasure the Christian literary tradition should not miss this illuminating book.

Revolutionizing a bestselling genre, this thinking man's parody hijacks the format of "daily affirmations" by offering "daily afflictions" to give readers inspiration, practical advice, and food for thought.

The cross of Christ is the greatest irony in the history of the universe. It is far too easy to lose track of the paradoxical details of Christ's death. Familiarity replaces what should be shock as we read through the Passion narrative. The Irony of the Cross puts the shock back in the cross by highlighting the ironies of Christ's death. Examining Mark 15:21-29, this book identifies eleven ironies of the cross that will deepen your understanding of the death of Christ and the gospel of grace. Each of these presents Jesus eschewing the prerogatives of his power for the salvation of his people. There is no other point in time when Christ was more emptied and stripped of his divine dignity, and yet there is no other place where Christ's glory is more prominently displayed.

Of all the evidences for God to be found on the Wiki page 'Existence of God', you won't find irony listed. In fact, historically, writers have used irony to argue against God. Literary giants like Voltaire used irony to obliterate faith. But what if the real irony of Alanis Morissette's iconic song was that the lyrics really were ironic after all? What if God had created irony to hint at his existence? This non-fiction book is written for the agnostics, the seekers, the doubters, the sceptics. It is not primarily aimed at believers or atheists (although these two groups will find it interesting). It is particularly aimed at those who find it difficult not to blame a seemingly malevolent God when things go wrong. It is a practical book which doesn't shy away from the fact that God allows negative irony to take place within our lives. In the book I call for a wider definition of the word in keeping with today's understanding. Language evolves and for many people irony today is not the strict dictionary definition. Irony can also be hypocrisy, 'crazy bad luck' and even serendipity. But we live in post-ironic, post-truth, and post-God times - we are far too sophisticated to accept dogmas which we may have been expected to accept in the past. So how can irony be evidence for a benevolent God? To find that out you may need to read this book. This book won't resolve the issue of suffering. It won't make you rich or make your tweets go viral. 'Why should I read your book then?' I hear you think. Firstly, because, you may want to know why everything is currently conspiring to keep you from reading it. Secondly, because it's original and brings fresh ideas forward. Thirdly, because it's shiny?

Genre—the articulation of "kind"—is one of the oldest and most continuous subjects of theoretical and critical commentary. Yet from Romanticism to postmodernism, the concept of genre has been punched with so many holes that today it hardly seems graspable, let alone viable. By combining theory with dialectical literary histories of three significantly different genres—tragedy, satire, and the essay—John Snyder reconstructs genre as the figural deployment of symbolic power. One purpose of this approach is to reconcile the recent dismantling of representational and classificatory genres with the incipient notion in post-Althusser Marxism that genre is the crucial mediation between history and aesthetics. Snyder extends certain implications of Aristotle, Benjamin, Bakhtin, Foucault, and Serres. He also offers the first antisystem yet comprehensive genre theory to serve as a fully distinct alternate to Frye's formalist and Genette's structuralist schemes. Finally, Snyder's theory of genre as power opens a way to a fundamentally new theory of literature itself: that aesthetic language deployed as power organizes itself as generic intervention. Three historically dynamic configurations establish the range of all possible genres—tragedy as power politically deployed as mimesis, satire as power rationally deployed as rhetoric, and the essay as power textually deployed as constative rhetoric. Specific analyses developing this important new theory cover a broad spectrum of literature, from classical to contemporary. Other genres, different media, and a variety of subgenres and modes political and religious—all acquire fresh significance from the elaborations of Snyder's three selected genres.

A powerful new interpretation of Catholicism's dramatic encounter with modernity, by one of America's leading intellectuals Throughout much of the nineteenth century, both secular and Catholic leaders assumed that the Church and the modern world were locked in a battle to the death. The triumph of modernity would not only finish the Church as a consequential player in world history; it would also lead to the death of religious conviction. But today, the Catholic Church is far more vital and consequential than it was 150 years ago. Ironically, in confronting modernity, the Catholic Church rediscovered its evangelical essence. In the process, Catholicism developed intellectual tools capable of rescuing the imperiled modern project. A richly rendered, deeply learned, and powerfully argued account of two centuries of profound change in the church and the world, The Irony of Modern Catholic History reveals how Catholicism offers twenty-first century essential truths for our survival and flourishing.

Many of the seemingly bland assertions and bald statements of the eighteenth-century philosopher David Hume contain more than the mind immediately perceives. Author John Valdimir Price contends that an understanding of Hume's writings cannot be separated from an understanding of his life. By examining the works of Hume, Price shows the way in which an ironic way of seeing events and an ironic mode of expression permeated Hume's life and writings. Price examines Hume's irony as it is exhibited in letters to his friends and in his writings concerned with morality, people, philosophy, politics, history, and above all religion. Hume's opinions on life in general are stated in works ranging from the Treatise of Human Nature and the Essays, Moral and Political, through the Enquiry concerning Human Understanding and the Enquiry concerning Principles of Morals, to the Dialogue and Four Dissertations of his maturity. Price feels that Hume's recognition of the ironic in life came about from his perception of the disproportion between human hopes and human accomplishments. The rhetorical consequences of applying reason to a duality in human nature creates the ironic mode. Hume conceived man's opposing tendencies as his willingness to commit himself orally to a concept, a dogma, an idea, or an ideology, and his unwillingness to involve himself in the logical and rhetorical implications of articulating those principles. Hume's use of the ironic mode in his writings provides him with a means of challenging certain dogmatic assumptions common to thought, particularly to traditional religious thought; it acts as a mask for his sceptical intentions, and it is an implied criticism of many ideas. In his political writing, Hume frequently implied that the question under argument was almost too ridiculous to deserve serious treatment. This tactic was effectively employed in the Account of Stewart, in which Hume came to the defense of a friend. In his most profitable venture, the History of England, Hume not only used irony to advantage, but developed a new approach to the writing of history—the use of narrative. He presented history as a series of more or less connected events, not as a series of "right" or "wrong" attitudes. The author believes that Hume's initial religious scepticism, combined with the predominant satiric-ironic mode in the literature of his time, led him to seek irony as a method of self expression. This scepticism, which permeated all of Hume's attitudes toward life, reached its most complete expression in the Dialogues concerning Natural Religion, which accepted reason as its guide, but also accepted experience as its master.