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From the Red Room in Twin Peaks to Club Silencio in Mulholland Drive, the work of David Lynch contains some of the most remarkable spaces in contemporary culture. Richard Martin's compelling study is the first sustained critical assessment of the role architecture and design play in Lynch's films. Martin combines original research at Lynchian locations in Los Angeles, London and Lódz with insights from architects including Adolf Loos, Le Corbusier and Jean Nouvel and urban theorists such as Jane Jacobs and Edward Soja. In analyzing the towns, cities, homes, roads and stages found in Lynch's work, Martin not only reveals their central importance for understanding this controversial and distinctive film-maker, but also suggests how Lynch's films can provide a deeper understanding of the places and spaces in which we live.

This volume presents collected essays - some brand new, some republished, and others newly translated - on the ancient commentators on Aristotle and showcases the leading research of the last three decades. Through the work and scholarship inspired by Richard Sorabji in his series of translations of the commentators started in the 1980s, these ancient texts have become a key field within ancient philosophy. Building on the strength of the series, which has been hailed as 'a scholarly marvel', 'a truly breath-taking achievement' and 'one of the great scholarly achievements of our time' and on the widely praised edited volume brought out in 1990 (Aristotle Transformed) this new book brings together critical new scholarship that is a must-read for any scholar in the field. With a wide range of contributors from across the globe, the articles look at the commentators themselves, discussing problems of analysis and interpretation that have arisen through close study of the texts. Richard Sorabji introduces the volume and himself contributes two new papers. A key recent area of research has been into the Arabic, Latin and Hebrew versions of texts, and several important essays look in depth at these. With all text translated and transliterated, the volume is accessible to readers without specialist knowledge of Greek or other languages, and should reach a wide audience across the disciplines of Philosophy, Classics and the study of ancient texts.

What role does food play in the shaping of humanity? Is sharing a good meal with friends and family an experience of life at its best, or is food merely a burdensome necessity? David Roochnik explores these questions by discussing classical works of Greek literature and philosophy in which food and drink play an important role. With thoughts on Homer's The Odyssey, Euripides' Bacchae, Plato's philosopher kings and Dionysian intoxication, Roochnik shows how foregrounding food in philosophy can open up new ways of understanding these thinkers and their approaches to the purpose and meaning of life. The book features philosophical explanation interspersed with reflections from the author on cooking, eating, drinking and sharing meals, making it important reading for students of philosophy, classical studies, and food studies.

This book tells the story of German-language literature on film, beginning with pioneering motion picture adaptations of Faust in 1897 and early debates focused on high art as mass culture. It explores, analyzes and contextualizes the so-called 'golden age' of silent cinema in the 1920s, the impact of sound on adaptation practices, the abuse of literary heritage by Nazi filmmakers, and traces the role of German-language literature in exile and postwar films, across ideological boundaries in divided Germany, in New German Cinema, and in remakes and movies for cinema as well as television and streaming services in the 21st century. Having provided the narrative core to thousands of films since the late 19th century, many of German cinema's most influential masterpieces were inspired by canonical texts, popular plays, and even children's literature. Not being restricted to German adaptations, however, this book also traces the role of literature originally written in German in international film productions, which sheds light on the interrelation between cinema and key historical events. It outlines how processes of adaptation are shaped by global catastrophes and the emergence of nations, by materialist conditions, liberal economies and capitalist imperatives, political agendas, the mobility of individuals, and sometimes by the desire to create reflective surfaces and, perhaps, even art. Commercial cinema's adaptation practices have foregrounded economic interest, but numerous filmmakers throughout cinema history have turned to German-language literature not simply to entertain, but as a creative contribution to the public sphere, marking adaptation practice, at least potentially, as a form of active citizenship.

The Green Light ('Le Feu Vert') offers an original and profound exploration of the roots of environmental philosophy and the Anthropocene. Bernard Charbonneau situates the wellspring of the ecological movement in the dialectics of Nature and Freedom, and their needful but uneasy joining against the totalizing system of technological society that threatens them both. Using this paradoxical tension as a yardstick, he probes the ways in which concepts of Nature have developed as industrialization became second nature and jeopardized the original, taken for granted until its advent. This allows Charbonneau to explain how movements and policies claiming to deal with this issue have gone wrong. A spirited critique of how the environmental movement has taken shape in relation to philosophy, politics, theology and contemporary culture, this book written in 1980 is representative of an oft-overlooked strand of French environmentalist thought, as a look back on its first decade in the public eye by a man who had originated political ecology half a century earlier. Charbonneau can be said to have prepared the way for many current concerns within environmental thought: the tension between liberalism and ecologism in green political theory; the wider question of the compatibility of ecological imperatives with supposedly foundational freedoms under capitalism; the discussions over how to balance existing democratic structures with environmental goals; the tensions between radical and reformist strategies within green movements; the controversy over the core values of ecological politics in a world transformed by climate change and peak everything; and the proper attitude of environmental movements to institutional science. This ground-breaking work should be front and centre of the debates that he anticipated, while giving a timely perspective on the interconnected questions of nature and human freedom. This first English translation of a work by Bernard Charbonneau provides not only a vivid account of environmental philosophy, but an introduction to this important author's thought.

Revised and updated throughout, this 10th-anniversary edition of Can Creative Writing Really Be Taught? is a significantly expanded guide to key issues and practices in creative writing teaching today.Challenging the myths of creative writing teaching, experienced and up-and-coming teachers explore what works in the classroom and workshop and what does not. Now brought up-to-date with new issues that have emerged with the explosion of creative writing courses in higher education, the new edition includes:· Guides to and case studies of workshop practice· Discussions on grading and the myth of "the easy A"· Explorations of the relationship between reading and writing· A new chapter on creative writing research· A new chapter on games, fan-fiction and genre writing· New chapters on identity and activism