Mediterranean food expert and James Beard Award winner Clifford Wright presents a mouth-watering collection of recipes for tapas, mezze, antipasti, and other small plates traditional across the Mediterranean region. The Mediterranean region shares a love of bold flavor and fresh ingredients. Mediterranean Small Plates takes you on a culinary journey, showing you how each country uses the foundational ingredients of olive oil, garlic, tomatoes, eggplant, peppers, onions, and fresh herbs to develop their own unique range of flavors and textures. In addition to being beautiful to behold and delicious to eat, a diet of Mediterranean dishes has been scientifically linked to good health, including increased life span, improved brain function, better eye health, lower risk of certain cancers, decreased risk of heart disease and diabetes, and reduced inflammation. With small plates, you can easily share an adventurous, flavorful variety of these healthy foods with family and friends. Filled with stunning photography and easy-to-prepare recipes to serve and savor, Mediterranean Small Platesmakes every meal a celebration.

Originally constructed in the 18th century as a military barracks by Austrian Emperor Joseph II, Theresienstadt (now Terezin) was used as a ghetto and concentration camp by the Nazis early in World War II in their ruse of peaceful resettlement of the Jews of Europe. Tens of thousands of inmates perished at the camp and many more were sent from there to die at Auschwitz and Treblinka. Presented in a two-fold format, this book features the poignant stories of individuals who were transported to Theresienstadt, as related by Holocaust survivor Vera Schiff, whose entire family was sent to the camp in 1942. Following each narrative, Schiff engages in a wide-ranging discussion with ethics professor Jeff McLaughlin regarding the events of the story, within the broader political, religious and cultural context of what is now the Czech Republic.

Contributions by Eric Bain-Selbo, Jeremy Barris, Maria Botero, Manuel "Mandel" Cabrera Jr., David J. Leichter, Ian MacRae, Alfonso Munoz-Corcuera, Corry Shores, and Jarkko S. Tuusvuori In a follow-up to Comics as Philosophy, international contributors address two questions: Which philosophical insights, concepts, and tools can shed light on the graphic novel? And how can the graphic novel cast light on the concerns of philosophy? Each contributor ponders a well-known graphic novel to illuminate ways in which philosophy can untangle particular combinations of image and written word for deeper understanding. Jeff McLaughlin collects a range of essays to examine notable graphic novels within the framework posited by these two questions. One essay discusses how a philosopher discovered that the panels in Jeff Lemire's Essex County do not just replicate a philosophical argument, but they actually give evidence to an argument that could not have existed otherwise. Another essay reveals how Chris Ware's manipulation of the medium demonstrates an important sense of time and experience. Still another describes why Maus tends to be more profound than later works that address the Holocaust because of, not in spite of, the fact that the characters are cartoon animals rather than human. Other works contemplated include Will Eisner's A Contract with God, Alan Moore's V for Vendetta, Alison Bechdel's Fun Home, and Joe Sacco's Footnotes in Gaza. Mainly, each essay, contributor, graphic novelist, and artist are all doing the same thing: trying to tell us how the world is-at least from their point of view.

Through the combination of text and images, comic books offer a unique opportunity to explore deep questions about aesthetics, ethics, and epistemology in nontraditional ways. The essays in this collection focus on a wide variety of genres, from mainstream superhero comics, to graphic novels of social realism, to European adventure classics. Included among the contributions are essays on existentialism in Daniel Clowes's graphic novel Ghost World, ecocriticism in Paul Chadwick's long-running Concrete series, and political philosophies in Herge's perennially popular The Adventures of Tintin. Modern political concerns inform Terry Kading's discussion of how superhero comics have responded to 9/11 and how the genre reflects the anxieties of the contemporary world. Essayists also explore the issues surrounding the development and appreciation of comics. Amy Kiste Nyberg examines the rise of the Comics Code, using it as a springboard for discussing the ethics of censorship and child protection in America. Stanford W. Carpenter uses interviews to analyze how a team of Marvel artists and writers reimagined the origin of one of Marvel's most iconic superheroes, Captain America. Throughout, essayists in Comics as Philosophy show how well the form can be used by its artists and its interpreters as a means of philosophical inquiry. Jeff McLaughlin is assistant professor of philosophy at Thompson Rivers University in Kamloops, British Columbia.

How to Think Critically begins with the premise that we are all, every day, engaged in critical thinking. But just as we may develop bad habits in daily life if we don't scrutinize our practices, so we are apt to develop bad habits in critical thinking if we are careless in our reasoning. Readers are presented with a traditional step-by-step method for analysis that can be applied to all argument forms. Hundreds of exercises (with solutions) are included, as are several random statement generators which can be used to create thousands of additional examples. Venn diagrams, truth tables, and other essential concepts are presented not as definitions for academic study but as tools for better thinking and living. This second edition is substantially revised and improved throughout, and includes an all-new chapter on the applications of critical thinking in online contexts.

Contributions by Eric Bain-Selbo, Jeremy Barris, Maria Botero, Manuel "Mandel" Cabrera Jr., David J. Leichter, Ian MacRae, Jeff McLaughlin, Alfonso Munoz-Corcuera, Corry Shores, and Jarkko TuusvuoriIn a follow-up to Comics as Philosophy, international Contributors address two questions: Which philosophical insights, concepts, and tools can shed light on the graphic novel? And how can the graphic novel cast light on the concerns of philosophy? Each Contributor ponders a well-known graphic novel to illuminate ways in which philosophy can untangle particular combinations of image and written word for deeper understanding. Jeff McLaughlin collects a range of essays to examine notable graphic novels within the framework posited by these two questions. One essay discusses how a philosopher discovered that the panels in Jeff Lemire's Essex County do not just replicate a philosophical argument, but they actually give evidence to an argument that could not have existed otherwise. Another essay reveals how Chris Ware's manipulation of the medium demonstrates an important sense of time and experience. Still another describes why Maus tends to be more profound than later works that address the Holocaust because of, not in spite of, the fact that the characters are cartoon animals rather than human. Other works contemplated include Will Eisner's A Contract with God, Alan Moore and David Lloyd's V for Vendetta, Alison Bechdel's Fun Home, and Joe Sacco's Footnotes in Gaza. Mainly, each essay, Contributor, graphic novelist, and artist is doing the same thing: trying to tell us how the world is-at least from their point of view.