See Staci Newmahr, Playing on the Edge: Sadomasochism, Risk, and Intimacy (Bloomington: Indiana University Press, 2011), p. 2.

 See Staci Newmahr, Playing on the Edge: Sadomasochism, Risk, and Intimacy (Bloomington: Indiana University Press, 2011), p. 2.)| false
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 See Asad, Formations of the Secular, p. 113.

 See Asad, Formations of the Secular, p. 113.)| false
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 Asad, Formations of the Secular, p. 119.

 Asad, Formations of the Secular, p. 119.)| false
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 See Boer, ‘Yhwh as Top’, p. 101; Boer takes his cue from Deleuze: ‘Waiting and suspense are the essential characteristics of the masochistic experience’ (‘Coldness and Cruelty’, pp. 70-71). See also Linda Hart, Between the Body and the Flesh: Performing Sadomasochism (New York: Columbia University Press, 1993), p. 103.

 See Boer, ‘Yhwh as Top’, p. 101; Boer takes his cue from Deleuze: ‘Waiting and suspense are the essential characteristics of the masochistic experience’ (‘Coldness and Cruelty’, pp. 70-71). See also Linda Hart, Between the Body and the Flesh: Performing Sadomasochism (New York: Columbia University Press, 1993), p. 103.)| false
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 Deleuze, ‘Coldness and Cruelty’, p. 65; Boer, ‘Yhwh as Top’, p. 100.

 Deleuze, ‘Coldness and Cruelty’, p. 65; Boer, ‘Yhwh as Top’, p. 100.)| false
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 See Leopold von Sacher-Masoch, Venus in Fur (trans. Fernanda Savage; Mineola: Dover, 2012), p. 80 (his demand follows on Wanda’s remark that she hates ‘play-acting’).

 See Leopold von Sacher-Masoch, Venus in Fur (trans. Fernanda Savage; Mineola: Dover, 2012), p. 80 (his demand follows on Wanda’s remark that she hates ‘play-acting’).)| false
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 See Boer, ‘Yhwh as Top’, p. 89; see also p. 97 for reference to divine-human relationships (97).

 See Boer, ‘Yhwh as Top’, p. 89; see also p. 97 for reference to divine-human relationships (97).)| false
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 See Elizabeth Freeman, Time Bind: Queer Temporalities, Queer Histories (Durham: Duke University Press, 2010), esp. pp. 137-69.

 See Elizabeth Freeman, Time Bind: Queer Temporalities, Queer Histories (Durham: Duke University Press, 2010), esp. pp. 137-69.)| false
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 Kuch, ‘Rituality of Humiliation’, p. 53.

 Kuch, ‘Rituality of Humiliation’, p. 53.)| false
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 See Allan T. Georgia, ‘Translating the Triumph: Reading Mark’s Crucifixion Narrative against a Roman Ritual of Power’, JSNT 36 (2013), pp. 17-38 (23); Mary Beard, The Roman Triumph (Boston: Belknap/Harvard University Press, 2007), p. 25.

 See Allan T. Georgia, ‘Translating the Triumph: Reading Mark’s Crucifixion Narrative against a Roman Ritual of Power’, JSNT 36 (2013), pp. 17-38 (23); Mary Beard, The Roman Triumph (Boston: Belknap/Harvard University Press, 2007), p. 25.)| false
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 Judith Butler, Excitable Speech: A Politics of the Performative (New York: Routledge, 1997), p. 25.

 Judith Butler, Excitable Speech: A Politics of the Performative (New York: Routledge, 1997), p. 25.)| false
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 Georgia, ‘Translating the Triumph’, p. 23.

 Georgia, ‘Translating the Triumph’, p. 23.)| false
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 Georgia, ‘Translating the Triumph’, p. 24.

 Georgia, ‘Translating the Triumph’, p. 24.)| false
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 Beard, Roman Triumph, p. 136. On the instability of ‘seeing and being seen’, see also Frilingos, Spectacles of Empire, pp. 35-38.

 Beard, Roman Triumph, p. 136. On the instability of ‘seeing and being seen’, see also Frilingos, Spectacles of Empire, pp. 35-38.)| false
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 Wayne Meeks, Christ is the Question (Louisville, KY: Westminster John Knox, 2006), pp. 76-77; see also Georgia, ‘Translating the Triumph’, pp. 17-18.

 Wayne Meeks, Christ is the Question (Louisville, KY: Westminster John Knox, 2006), pp. 76-77; see also Georgia, ‘Translating the Triumph’, pp. 17-18.)| false
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 See, e.g., Richard Bauckham, The Theology of the Book of Revelation (Cambridge: Cambridge University Press, 1993), passim.

 See, e.g., Richard Bauckham, The Theology of the Book of Revelation (Cambridge: Cambridge University Press, 1993), passim.)| false
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 Stephen D. Moore, God’s Gym. Divine Male Bodies of the Bible (New York: Routledge, 1996), pp. 22-30, Moore refers in particular to Michel Foucault, Discipline and Punish: The Birth of the Prison (trans. Alan Sheridan; New York: Vintage, 1977).

 Stephen D. Moore, God’s Gym. Divine Male Bodies of the Bible (New York: Routledge, 1996), pp. 22-30, Moore refers in particular to Michel Foucault, Discipline and Punish: The Birth of the Prison (trans. Alan Sheridan; New York: Vintage, 1977).)| false
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 Sarah Coakley, ‘Prologue: Powers and Submissions’, Powers and Submissions (Oxford: Blackwell, 2002), p. xx.

 Sarah Coakley, ‘Prologue: Powers and Submissions’, Powers and Submissions (Oxford: Blackwell, 2002), p. xx.)| false
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 As it appears in Boer, ‘Yhwh as Top’, p. 93, where the suggestion that the passion narrative has sadomasochistic overtones is answered by Deleuze (as presented by Boer) with ‘Indeed it is … for not only is suffering valorized as never before, but it is willed submission, in total submission. Further, it is a suffering and submission that becomes the model for all believers who follow. They must imitate Christ … who is the basis of a new covenant’.

 As it appears in Boer, ‘Yhwh as Top’, p. 93, where the suggestion that the passion narrative has sadomasochistic overtones is answered by Deleuze (as presented by Boer) with ‘Indeed it is … for not only is suffering valorized as never before, but it is willed submission, in total submission. Further, it is a suffering and submission that becomes the model for all believers who follow. They must imitate Christ … who is the basis of a new covenant’.)| false
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 See Frilingos, Spectacles of Empire, p. 23.

 See Frilingos, Spectacles of Empire, p. 23.)| false
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 See Weil, The Iliad or the Poem of Force, pp. 42-43. See in general also Stuart Jesson, ‘Simone Weil: Suffering, Attention, and Compassionate Thought’, Christian Ethics 27 (2014), pp. 185-201.

 See Weil, The Iliad or the Poem of Force, pp. 42-43. See in general also Stuart Jesson, ‘Simone Weil: Suffering, Attention, and Compassionate Thought’, Christian Ethics 27 (2014), pp. 185-201.)| false
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 Frilingos, Spectacles of Empire, p. 85.

 Frilingos, Spectacles of Empire, p. 85.)| false
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 Powery, ‘Painful Praise’, p. 73.

 Powery, ‘Painful Praise’, p. 73.)| false
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