Though the relationship between Jesuits and Dominicans has historically been marked by theological controversy, Ignatius of Loyola, the founder of the Jesuits, shows remarkable affinity for the Thomistic tradition, the tradition advanced above all by the Dominican order. When writing the Jesuit Constitutions, in fact, Ignatius made Thomas Aquinas’s Summa Theologiae the primary textbook for Jesuit theological formation. The contributions to this volume—originating from Jesuits, Dominicans, and lay scholars alike—explore different aspects of the complex yet illuminating relationship between Ignatius and Thomas. The themes range from the general relationship between the early Jesuits and scholastic theology to the attempts by Francisco de Toledo, the first Jesuit cardinal, to apply Thomistic reasoning to the religious and legal status of Jewish converts to Christianity. Other contributions compare Ignatius and Thomas on topics of significant interest for dogmatic, sacramental, and spiritual theology: spiritual experience, the ordering of the passions, the use of the imagination, prudence and discernment of spirits, frequent communion, Mariology, the “hierarchical church,” and the limits of obedience. Students of Ignatius of Loyola, Thomas Aquinas, second scholasticism, Christian-Jewish relations, and spiritual theology in general will find this volume an invaluable contribution.

A revisionist history of Method acting that connects the popular reception of “methodness” to entrenched understandings of screen performance still dominating American film discourse today.

Only one performance style has dominated the lexicon of the casual moviegoer: “Method acting.” The first reception-based analysis of film acting, Imagining the Method investigates how popular understandings of the so-called Method—what its author Justin Rawlins calls "methodness"—created an exclusive brand for white, male actors while associating such actors with rebellion and marginalization. Drawing on extensive archival research, the book maps the forces giving shape to methodness and policing its boundaries.

Imagining the Method traces the primordial conditions under which the Method was conceived. It explores John Garfield's tenuous relationship with methodness due to his identity. It considers the links between John Wayne's reliance on "anti-Method" stardom and Marlon Brando and James Dean's ascribed embodiment of Method features. It dissects contemporary emphases on transformation and considers the implications of methodness in the encoding of AI performers. Altogether, Justin Rawlins offers a revisionist history of the Method that shines a light on the cultural politics of methodness and the still-dominant assumptions about race, gender, and screen actors and acting that inform how we talk about performance and performers.

A Provocative Examination of the Origin of Imagination

Aristotle was the first philosopher to divide the imagination—what he called phantasia—from other parts of the psyche, placing it between perception and intellect. A mathematician and philosopher of mathematical sciences, Aristotle was puzzled by the problem of geometrical cognition—which depends on the ability to “produce” and “see” a multitude of immaterial objects—and so he introduced the category of internal appearances produced by a new part of the psyche, the imagination. As Justin Humphreys argues, Aristotle developed his theory of imagination in part to explain certain functions of reason with a psychological rather than metaphysical framework. Investigating the background of this conceptual development, The Invention of Imagination reveals how imagery was introduced into systematic psychology in fifth-century Athens and ultimately made mathematical science possible. It offers new insights about major philosophers in the Greek tradition and significant events in the emergence of ancient mathematics while offering space for a critical reflection on how we understand ourselves as thinking beings.