This correspondence, which encompasses Truman's courtship of his wife, his service in the senate, his presidency, and after, reveals not only the character of Truman's mind but also a shrewd observer's view of American politics.

An anthology of writings on exhibition practice from artists, critics, curators and art historians plus artist-curators. It addresses the contradictions posed by museum and gallery sited exhibitions, as well as investigating the challenge of staging art presentations, displays or performances, in settings outside of traditional museum or gallery locales.

The essays in this collection challenge conventional ideas about consumption and consumerism: they consider if the inundation of Western consumer goods have created identity confusions among the affluent in Asia, and if the expansion of consumer culture really does threaten the stability of politically anti-liberal states in Asia. This is the first book to analyse in detial consumerism in the region, and will be valuable reading for students and researchers in Asian studies, economics, politics and cultural studies.

The fact that labor supply consists of men, women, and children in families with their own accustomed and often well-loved ways of living is often overlooked in any discussion of "the farm labor problem." this study uses both agricultural economics and cultural anthropology in analyzing employment problems. The analysis covers (1) histories of the development of the citrus, lettuce, and cotton industries with examples of companies using different harvesting operations, (2) the economics of the technologies, (3) the workers, (4) the participants in their distinctive cultural and institutional settings--Mexican-American, anglo-isolate, negro, Indian, and management, and (5) the participants in their common technological setting. Some of the conclusions were--(1) Arizona agriculture, as a variant of southwestern agriculture, is an instrument of exploitation of unsophisticated, culturally unassimilated peoples, and functions also as an assimilative mechanism working in the direction of upward occupational mobility and by doing depletes itself of its own labor supply, (2) displacement of the higher occupational classes tends to be permanent because its members do not fit the lower occupational classes, and (3) when members of the lower occupational classes are replaced by higher class workers, the members of the lower classes tend to remain in the industry and compete for the new higher-status jobs. Some implications for farm employment and manpower were--(1) an unemployed worker should be retrained in a higher occupational class, (2) if a worker is displaced from the highest occupational status in the industry, he should be retrained for another industry, (3) anglo-isolates cannot be rehabilitated by training programs, and (4) the concept of training for occupational adjustment must be broadened to deal effectively with institutional and cultural factors.

This book explores the ways in which English writer A. S. Byattâ (TM)s visual still lifes (descriptions of real or imagined artworks) and what are termed â oeverbal still lifesâ (scenes such as laid tables, rooms and market stalls) are informed by her veneration of both realism and writing. It examines Byattâ (TM)s adoption of the Barthesian concept of textual pleasure, showing how her ekphrastic descriptions involve consumption and take time to unfold for the reader, thereby highlighting the limitations of painting. It also investigates the ways in which Byattâ (TM)s still lifes demonstrate her debts to English modernist author Virginia Woolf, French writer Marcel Proust, and the Pre-Raphaelite Brotherhood of nineteenth-century Britain. A number of Byattâ (TM)s verbal still lifes are read as semiotic markers of her characters, particularly with regard to economic status and class. Further, her descriptions uniting food and sexuality are perceived as part of her overall representation of pleasure. Finally, Byattâ (TM)s employment of vanitas iconography in many of her portrayals of death is discussed showing how her recurring motif of Keatsâ (TM)s â oeOde on a Grecian Urnâ teases out the still lifeâ (TM)s inherent tension between living passion and â oecoldâ artwork.