An exploration of the fast food industry in the United States, from its roots to its long-term consequences.

When Framboise Simon returns to a small village on the banks of the Loire, the locals do not recognize her as the daughter of the infamous woman they hold responsible for a tragedy during the German occupation years ago. But the past and present are inextricably entwined, particularly in a scrapbook of recipes and memories that Framboise has inherited from her mother. And soon Framboise will realize that the journal also contains the key to the tragedy that indelibly marked that summer of her ninth year. . . .

James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.

When first published, Marshall McLuhan's Understanding Media made history with its radical view of the effects of electronic communications upon man and life in the twentieth century.

Feisty nurse Jaci Piermont’s heart was crushed when Staff Sergeant Ian Eddelton walked away from their passionate night together.

To limit the skyrocketing costs of their employees' health insurance, companies such as Dow, Chevron, and IBM, as well as many large HMOs, have increasingly hired physicians to supervise the medical care they provide. As Elaine Draper argues in The Company Doctor, company doctors are bound by two conflicting ideals: serving the medical needs of their patients while protecting the company's bottom line. Draper analyzes the advent of the corporate physician both as an independent phenomenon, and as an index of contemporary culture, reaching startling conclusions about the intersection of corporate culture with professional autonomy. Drawing on over 100 interviews with company physicians, scientists, and government and labor officials, as well as historical, legal, and statistical sources and medical trade association data, Draper presents an illuminating overview of the social context and meaning of professional work in corporations. Draper finds that while medical journals, speeches, and ethical codes proclaim the independent professional judgment of corporate physicians, the company doctors she interviewed often expressed anguish over the tightrope they must walk between their patients' health and the corporate oversight they face at every turn. Draper dissects the complex position occupied by company doctors to explore broad themes of doctor-patient trust, employee loyalty, privacy issues, and the future direction of medicine. She addresses such controversial topics as drug screening and the difficult position of company doctors when employees sue companies for health hazards in the workplace. Company doctors are but one example of professionals who have at times ceded their autonomy to corporate management. Physicians provide the prototypical professional case for exploring this phenomenon, due to their traditional independence, extensive training, and high levels of prestige. But Draper expands the scope of the book—tracing parallel developments in the law, science, and technology—to draw insightful conclusions about changing conditions in the professional workplace, as corporate cultures everywhere adapt to the new realities of the global economy. The Company Doctor provides a compelling examination of the corporatization of American medicine with far-reaching implications for professionals in many other fields.

This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.