Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh’s traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession.

The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the “ethos of noh,” the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh’s professionalization—its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.

The romance genre was a popular literary form among writers and readers in the nineteenth and early twentieth centuries, but since then it has often been dismissed as juvenile, unmodern, improper, or subversive. In this study, William J. Scheick seeks to recover the place of romance in fin-de-siècle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic expression.

Scheick argues that the narrative maneuvers of ethical romance dissolve the boundary between fiction and fact. In contrast to eventuary romances, which offer easily consumed entertainment, or aesthetic romances, which urge upon readers a passive appreciation of a wondrous work of art, ethical romances potentially disorient and reorient their readers concerning some metaphysical insight hidden within the commonplace. They prompt readers to question what is real and what is true, and to ponder the wonder of life and the text of the self, there to detect what the reader might do in the art of his or her own life

The authors whose works Scheick discusses are Nathaniel Hawthorne, H. Rider Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis, Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson, Mary Cholmondeley, and Rudyard Kipling. This wide selection expands the canon to include writers and works that highly merit re-reading by a new generation.

​​One of the most studied and critiqued documents of the papal magisterium is largely spoken of with regards to moral theology and the refutation of modern error. Yet Adrian Reimers points out that, as affirmed by this encyclical, the moral life is itself a realm of love and freedom, a place of intimacy with the Creator as much as interaction with others. Reimers is eager to show that the Encyclical is more innovative than it looks, just as morality is not just about the correction of error. It is not content to defend the traditional positions; it traces the paths of a profound renewal in the presentation of Catholic morality. "We would gladly say that it performs a kind of discreet revolution in the conception of Christian morality, affecting the very bases that support it."
     The publication of Veritatis Splendor met with vigorous opposition and even rejection within the Catholic theological community. But in Veritatis Splendor John Paul II addresses these contemporary conceptions, including dissention, coming to grips with the roots of the modern errors that have resulted in the loss of transcendence. However, the scope of Veritatis Splendor is far broader than evil and judgment of sin. The pope addresses such issues as conscience, intrinsically evil acts, and the theory of fundamental freedom. Inevitably, these discussions revolve around how to conceive the nature of the human act and the conception of natural law. 
     This present work examines this encyclical against the backdrop of the philosophers with whom Karol Wojtyła engaged in his own philosophical project. Of central concern to Wojtyła throughout his career were the nature and prerogatives of the human person. Among his most frequent modern interlocutors were David Hume, Immanuel Kant, the utilitarian school, and Max Scheler. The program of Wojtyła’s philosophical corpus is to present an alternative account of the human person to that which has marked the post-Enlightenment world. Having shared in the sufferings of his native Poland under the Nazi occupation and then as a scholar working in Communist Poland, Wojtyła was keenly aware of the forms of materialism which formed the environment of his own life and work. He offers not only his own analyses but also provides a model for engaging with the contemporary culture.
     Veritatis Splendor is a timeless examination of human, personal acts that challenges the post-modern conception of morality, love, and freedom. Reimers reorients this presentation for contemporary readers and invites readers who may have missed this foundational treatment to incorporate it into the questions and issues of our own times.