A new trade paperback edition of "a masterpiece of symbolically charged realism....Fowles is the only writer in English who has the power, range, knowledge, and wisdom of a Tolstoy or James" (John Gardner, Saturday Review). The eponymous hero of John Fowles's largest and richest novel is an English playwright turned Hollywood screenwriter who has begun to question his own values. Summoned home to England to visit an ailing friend, Daniel Martin finds himself back in the company of people who once knew him well, forced to confront his buried past, and propelled toward a journey of self-discovery through which he ultimately creates for himself a more satisfying existence. A brilliantly imagined novel infused with a profound understanding of human nature, Daniel Martin is John Fowles at the height of his literary powers.

In Soul of Science, Daniel Martin Diaz examines the mysteries of scientific diagrams, secrets of symbols and their everlasting effect on the human psyche. The inspiration for this new body of work comes from the mysteries of consciousness, self-aware systems, philosophy, cellular automata, phase transitions, time travel and mystical behaviours at atomic and sub-atomic levels. He was inspired to use the simplicity of drawing to create his own interpretations of the concepts of consciousness and other theories on a scientific, philosophical and spiritual level.

This cutting-edge volume offers a theoretical and applied introduction to the emerging legal technology and informatics industry.

Mysterium Fidei, which translates to Mystery of Faith, is the new collection of art from Daniel Martin Diaz. His paintings, prints, and drawings are inspired by devotional folk art, which he blends with archaic imagery and old-world aesthetics, immersed in the passionate imagery of his religion. He loves New Testament stories and the surreal visions they conjure; in this local 19th century mission, he was moved by the crude, darkened old Mexican religious paintings, a hybrid of European and vernacular Mexican art.

Long ago, The Lord Aiduel emerged from the deserts of the Holy Land, possessed with divine powers. He used these to forcibly unify the peoples of Angall, before His ascension to heaven.

As the first detailed English-language book on the subject, Korean Horror Cinema introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, such as the wonhon (vengeful female ghost) and the gumiho (shapeshifting fox), to the avenging killers of Oldboy and Death Bell. Beginning in the 1960s with The Housemaid, it traces a path through the history of Korean horror, offering new interpretations of classic films, demarcating the shifting patterns of production and consumption across the decades, and introducing readers to films rarely seen and discussed outside of Korea. It explores the importance of folklore and myth on horror film narratives, the impact of political and social change upon the genre, and accounts for the transnational triumph of some of Korea's contemporary horror films. While covering some of the most successful recent films such as Thirst, A Tale of Two Sisters, and Phone, the collection also explores the obscure, the arcane and the little-known outside Korea, including detailed analyses of The Devil's Stairway, Woman's Wail and The Fox With Nine Tails. Its exploration and definition of the canon makes it an engaging and essential read for students and scholars in horror film studies and Korean Studies alike.