Fruit Bowl Research Articles

Latinos1in Rural America and U.S. Agriculture: From Pioneers to New Arrivals

For at least four centuries, Mexican communities of labor have been part of rural America, bringing affordable food to the American table and prosperity to generations of American farmers. From California's factories in the fields and the Heartland's meatpacking plants, to the backs of restaurants' kitchens, Latino workers can be found at every critical linkage in this country's agro-food chain. Our salad plates and fruit bowls, shrimp cocktails and barbeques, hamburgers and the pickles and French fries that commonly accompany them, our pecan tarts and apple pies, and even our frozen dinners would virtually disappear from our dinner table should Latino workers suddenly exit U.S. agriculture and food processing labor markets. Their departure would also precipitate the exodus of thousands of family members and associates working in large retail chains, construction, oil rigs, carpet mills, casinos, sky resorts, and many other service and manufacturing sectors that today have become dependent on Latino imm...

The rhetoric of perspective: realism and illusionism in seventeenth-century Dutch still-life painting

determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image. Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their sophisticated deceit, asserting that painting is more about visual representation than about its supposed objects. Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception. An elegant and honourable synthesis. Keith Miller, Times Literary Supplement

Pack a fruit bowl every day

While I sympathise with those who do not get regular mealtimes (readers panel March 2), how difficult is it to pack a banana, an orange, an apple and a carrot to take to work each day? There you are – you have four of your five daily recommended portions. Just add a few frozen peas with your main meal and you have done it. Some of the excuses were rather feeble.

Consumer Virtues in Revolutionary America?

T. H. Breen. The Marketplace of Revolution: How Consumer Politics Shaped American Independence. New York: Oxford University Press, 2004. xviii + 380 pp. Illustrations, notes, and index. $30.00. It was, as I remember it, a swelteringly hot Philadelphia summer day. We were in a back lot near Front Street, digging down through the deposits of an old well for a salvage archaeology project, clearing the way for the construction of a parking lot. The upper layers presented a mass of tires, bricks, and beer bottles, but at the bottom we hit the mother lode. A foot of fine gray clay encapsulated an unbelievable mass of broken china and glassware, all dating to the 1760s. The finest porcelain, stemmed glasses, and basket-form fruit bowls in cream-colored earthenware, once gracing a fine Philadelphia table, had been shattered and smashed as it was dumped down the well in a grand house cleaning, probably at the turn of the nineteenth century. That same summer in 1977 Timothy Breen was probably already thinking about the power of such things in their eighteenth-century settings. The Marketplace of Revolution is the culmination of an epic series of projects on material life in eighteenth-century America beginning with his work on self-presentation, agriculture, and debt among the pre-revolutionary Virginia gentry, running through a sequence of landmark, classic essays on culture and revolution.1 In essence, Breen's argument is that the coming of the American Revolution cannot be understood without a consideration of the scope, scale, and penetration of a prior consumer revolution, as Americans from the 1740s were drawn into the advancing juggernaut of British manufactured goods, a sensuous stream of textile, ceramic, glass, metal-wares, and printed goods that reached into virtually every American household. These goods—objects of desire and avenues of choice—revolutionized American life before the Revolution itself. They became a common ground of American identity, a materialized "imagined community," that, Breen argues, determined the shape and trajectory of the evolving revolutionary mobilization. Plates, cloth, and household experience, rather than simply pamphlets, speeches, and political principles, mobilized Americans to resist British tyranny to the point of rebellion, independence, and political revolution. Breen's long-awaited [End Page 329] magnum opus sets forth his argument in full and splendid detail. It is a book that is bound to set off debate. The Marketplace of Revolution is organized into two sections, in turn describing the eighteenth-century "empire of goods" and the political and cultural dynamics of the non-importation movements between 1765 and 1775. Breen carefully eases his reader into what will be a densely detailed argument by way of two openers: an introduction to "The Revolutionary Politics of Consumption" and a first chapter providing a "Tale of the Hospitable Consumer: A Revolutionary Argument." These prologia allow Breen to back into his discussion, presenting his conclusions about revolutionary mobilization before he leads his reader through the marvels of the late colonial marketplace. Thus in his introduction, after a brief view of a display of imported ceramics at Colonial Williamsburg, Breen states his thesis in terms that will be helpful for those of us who like to counterpose in our teaching David Hackett Fischer's colonial diversities with Jack Greene's colonial convergence: "the colonists' shared experience as consumers provided them with the cultural resources need to develop a bold new form of political protest. In this unprecedented context, private decisions were interpreted as political acts; consumer choices communicated personal loyalties. Goods became the foundation of trust, for one's willingness to sacrifice the pleasures of the market provided a remarkably visible and effective test of allegiance" (p. xv-xvi).2 This theme is developed more extensively in the ensuing introductory chapter. Here Breen sets himself off from both the ideological school's emphasis on the traditions of English Whiggery and the progressive historians' focus on class. Neither political pamphlets nor class grievance, he argues, begin to explain the breadth and depth of American mobilization...

Lesion of the Right Proximal Tibia in a 12-Year-Old Boy

Lesion of the Right Proximal Tibia in a 12-Year-Old Boy

Caravaggios Früchtekorb: das früheste Stilleben?

An article based on a lecture delivered at Philipps-Universitat in Marburg, Germany, on January 12, 2000. A painting of a fruit bowl by Michelangelo Merisi da Caravaggio, now in the Pinacoteca Ambrosiana in Milan, Italy, may represent the earliest modern, autonomous still life in Italy. For a new genre to break through, there has to be an interplay between art production and viewer/client interest. This historical constellation was evidently present in Milan and Rome in the case of Caravaggio and his first, humanistically educated patrons, collectors who set the tone. In any case, Caravaggio can be said to have played a kind of inventor role in the development of the modern, autonomous Italian still life.

REPETIBILIDADE DE CARACTERES DO CACHO DE AÇAIZEIRO NAS CONDIÇÕES DE BELÉM-PA

Estimou-se o coeficiente de repetibilidade em caracteres do cacho de açaizeiro (Euterpe oleracea Mart.) nas condições de Belém-PA, com o intuito de determinar a capacidade de eles expressarem a variabilidade genética dessa fruteira. Para tanto, foram colhidos quatro cachos por planta, todos apresentando completa maturação, em 30 genótipos pertencentes à Coleção de Germoplasma de Açaí da Embrapa Amazônia Oriental, onde foram mensurados seis caracteres: peso total do cacho (PTC), peso de frutos por cacho (PFC), número de frutos por cacho (NFC), número de ráquilas por cacho (NRC), peso médio do fruto (PMF) e rendimento de frutos por cacho (RFC). A análise da repetibilidade, do número de medições necessárias e do coeficiente de determinação para cada caráter foi obtida através do método da análise de variância, utilizando o modelo com dois fatores de variação. Verificou-se que todos os caracteres apresentaram diferenças significativas entre genótipos, com o número de frutos, número de ráquilas e peso médio do fruto, evidenciando diferenças ao nível de 1% de probabilidade. Porém, o maior coeficiente de repetibilidade foi registrado para peso médio do fruto, enquanto os demais caracteres apresentaram valores inexpressivos. Essa variável teve, também, o maior coeficiente de determinação; entretanto, o número de repetições desejável para esse caráter deve ser quase o triplo do usado nesse estudo. Pelo fato de o coeficiente de repetibilidade expressar o valor máximo de herdabilidade, conclui-se que o PMF pode ser usado como parâmetro de seleção em métodos de melhoramento menos rigorosos.

Ecofeminist philosophy: a Western perspective on what it is and why it matters

Chapter 1 Nature Is a Feminist Issue: Motivating Ecofeminism by Taking Empirical Data Seriously Chapter 2 What Are Ecofeminists Saying? An Overview of Ecofeminist Positions Chapter 3 Quilting Ecofeminist Philosophy: A Western Perspective on What Ecofeminist Philosophy Is Chapter 4 How Should We Treat Nature? Ecofeminist Philosophy and Environmental Ethics Chapter 5 Ethics in a Fruit Bowl: Ecofeminist Ethics Chapter 6 Must Everyone Be Vegetarian? Ecofeminist Philosophy and Animal Welfarism Chapter 7 What Is Ecological about Ecofeminist Philosophy? Ecofeminist Philosophy, Ecosystem Ecology, and Leopold's Land Ethic Chapter 8 With Justice for All: Ecofeminist Philosophy and Social Justice Chapter 9 Surviving Patriarchy: Ecofeminist Philosophy and Spirituality

Lost

It's the eggcups that keep me awake. We ate our boüed eggs from them aU through our childhood, each with a preference for big end or little end up, for slicing off the crown of the egg or crazing it with the back of the spoon and picking off the resulting fragments. We dipped our buttery toast soldiers one by one into the soft yolk, then in the litde mound ofsalt on the side of the plate. When the eggsheU was empty we plunged the spoon through its base to the bottom of the eggcup, so that a witch couldn't get hold of it and use it for a boat. The eggcups were weU-traveled; they had started in Kashmir, crafted from walnut by the wood turners who had also made the fruit bowls and little wooden ashtrays, and the set of nesting occasional tables my parents bought. AU these pieces went back and forth from India to England to China and back again. The eggcups ended up in a drawer ofthe dresser that stood in for a sideboard in my parents' last dining room. I had left turning out these drawers until the night before the move that would take my widowed mother to her smaU "retirement flat." She was having enough trouble finding the süverware that last week, or anything else she needed, among the mess ofboxes in every room. The dresser was going to my sister's house, or I wouldn't have emptied the drawers. Thinking to pack a box of table Unens, I opened drawer after drawer stuffed with knitting projects, as yet unwrapped presents from past hoUdays, cushion covers embroidered in cross-stitch at school by my sister and me, letters and post cards and birthday cards and photos received over the last year or two, pul boxes and bottles with recent and more ancient dates on them, most of them partiaUy fuU ofpiUs that were never taken. And the eggcups. Six ofthem, a more or less matched set, although one or two were dumpier than the rest, the bowls set on sUghdy shorter stems. I puUed them, one by one, out of a muddle of cotton serviettes and place 107 108Fourth Genre mats. Each one had dribbles ofold egg yolk down the sides, and I was scunnered by this, as my mother would have said in one of her more Scottish moments. I should have taken them into the kitchen and carefuUy cleaned them, but it was after midnight and there were two more drawers to go. I buried them in the bag of rubbish that was accumulating in the corner of the room, and turned to the next tangle of knitting wool and needles. After the move, when various siblings had unpacked the boxes I packed that week, and put things away in what seemed Uke logical places, I heard that my mother was having a terrible time finding what she needed. My sister visited and found her eating cornflakes out of a mug with a teaspoon. The silverware had always been in the dining room drawer; why would it now be in the kitchen? The electric stove was a trial, after years of cooking with gas, and it mysteriously wouldn't Ught at aU in the morning, after she had carefuUy turned off the master waU-switch the night before. StiU, she could always put an egg to boil in the electric kettle, so nobody could say she wasn't cooking for herself at aU. I didn't dare ask what she was eating the boüed egg out of, or think of her fruitless search through the newly organized cabinets for the eggcups she had bought in Kashmir when I was a baby. L| ...

The fruit bowl approach to the treatment of obesity

The fruit bowl approach to the treatment of obesity

The Semantic Equation: A Theory of the Social Origins of Art Styles

and Realistic Codes In general, the more restricted the artistic style, the narrower the range of vocabulary and the more simple and rigid the syntactical rules. For example, consider color as a basic unit of artistic 191 This content downloaded from 157.55.39.112 on Wed, 07 Sep 2016 04:53:27 UTC All use subject to http://about.jstor.org/terms 192 Sociological Theory vocabulary. A painting in a more restricted style would be composed of a narrower range of colors, with less variation in hue and intensity and less mixing of colors. In effect, all the options of using color would be restrained, limited, or restricted. Similarly, the application of paint, itself a syntactical device, would be simplified. Brushstrokes as a means of expressive communication would be reduced or removed, and in extreme cases the human hand could be eliminated altogether, being replaced by mechanical techniques such as silk-screening or by collage, in which found objects replace images drawn by the artist. In general, the more vocabulary is reduced and the more syntax is simplified, the more abstract the art. This is almost of necessity. A narrower range of artistic materials makes it difficult to accurately replicate a realistic image. Thus abstract art tends to be a more restricted code, and conversely realism tends to be a more elaborated code. By definition, realism spells things out in full, and it therefore requires a full range of color, shape, form, line, and so on to realistically reproduce an image. It is simply difficult to paint anything very realistically with just a few abstract gestures. Linguistically, realism contains more of its meaning within its own internal structure than does abstraction, which is a more context-dependent form of communication. For instance, a realist painting of a bowl of fruit is just what it appears to be, as opposed to, say, an abstract expressionist painting, which in principle could be mistaken for spilled paint or a child's scribbles. Without mastering the skills of drawing and painting-that is, without utilizing the vocabulary and syntax of art-one could not paint a realist portrait or seascape. But one could drip paint on a canvas a laJackson Pollock or dabble pigment in expressive gestures like any other abstract expressionist. I am not speaking of esthetic quality but simply of whether some paint is defined as art or as a mistake or child's play. As a general rule, the more minimal and abstract the painting, the more alternative interpretations become possible. Is a drip of paint a drip of paint or art? This may seem trivial, but it must be remembered that much of the minimal and conceptual art of the 1960s involved art objects that were stacks of railroad ties, mounds of dirt, pieces of cloth, piles of scrap metal, or assorted found objects stacked, piled, or flung on museum floors. These art objects readily lent themselves to being defined as something other This content downloaded from 157.55.39.112 on Wed, 07 Sep 2016 04:53:27 UTC All use subject to http://about.jstor.org/terms The Semantic Equation than art, if they were not encased in supplemental art theorizing that gave them their distinctly artistic significance. The important theoretical point is that in and of itself a drip of paint cannot signify its appropriate classification. It does not contain enough internal meaning to denote its status, as it does not employ enough variation in vocabulary and syntax to internally generate context-free meaning the way, say, the painted vase of flowers can. At least that is a painting. Whether it is good or bad is a moral evaluation, which is secondary to its factual classification as art. This importance of context, not only for interpreting art but, more fundamentally, for the very definition of art, suggests a theoretical connection between restricted codes and more solidary groups. Art, like all languages, not only appears in a social context but is a part of that very context. A restricted code is filled in and decoded by the commonly held assumptions of the group. More important, an intelligible restricted code, in speech or art, could not appear without assumptions provided by the broader group

Reassessing the Reassessment: Comment on Sigelman's Note on the "Two Presidencies" Thesis

LEE SIGELMAN'S REASSESSMENT.. . in the November 1979 issue of The Journal of Politics offers little that is new to the examination of the Two Presidencies thesis. He accurately points to some confusion in previous writings, but instead of clarifying, he accepts the confusion and adds his own. Because space does permit a detailed critique of Sigelman's note, we limit our comments to his utilization of the key votes measure. Sigelman complains that we (and Wildavsky) compare apples and oranges, but he gives us a grape and tells us it is an entire bowl of fruit. All earlier studies acknowledge the limitations of using initiatives to Congress as the universe of presidential/congressional relations. Using legislation as Sigelman has, may be a good idea, but it is subject to just as many pitfalls and limitations, if more. Congressional Quarterly's judgement about what is major is just one of a possibly infinite number of judgments. The deductive process necessary to move definitely from trivial to non-trivial is much more difficult than we are being told. Even when we get there we have only part of the picture. Sigelman asserts the boxscore of initiatives is not the best evidence of presidential influence (page 1198). But if, as he claims, he is re-assessing the Two Presidencies thesis, initiatives are surely a closer approximation of Wildavsky's original theoretical concern than roll call votes, which may be totally unrelated to policies the President proposed. The fact that Sigelman finds less

Problems of Pictorial Perception

The problem ofpictorial representation is partly a philosophical, partly an empirical one. Specifically, how can X represent Y; how can X be perceived as something other than what it is ? Several traditional pseudo-answers to this question are reviewed, as well as recent more sophisticated ones. An explanation in terms of perceptual invariants is supplemented with a phenomenological description of the attentional act required in both real-world and pictorial perception. It is proposed that rather than similar visual features of X and Y, it is parts of identical attentional acts during the perception of the features that constitute their relationship and that the traditional concept of representation in visual art is misleading. This idea is illustrated by considering an artist's tasks as conceptualization and recording of perceptual experience. The problem of pictorial representation is partly a philosophical, partly an empirical one. Philosophically, the question is: What does it mean to say that X represents Y? Empirically, it is: What are the perceptual properties of the display X that lead to the apprehension of the subject Y? There have been several proposed answers to the question, none of them fully adequate, that mix empirical and philosophical approaches to various degrees [1]. A brief survey of these answers will help define the parameters of the question prior to the formulation of a new answer in perceptual-phenomenological terms. (This survey relies heavily on an excellent review by Gombrich, et al. [1]. I. SURVEY OF EARLIER PROPOSALS A. The Resemblance Hypothesis Black [2] reviews the notion that display X depicts object Y if X resembles Y. That is, X is in some way 'more similar to the visual appearance of Y's than to objects of any other class'. The difficulty here is in determining the nature of the similarity. Similarity in physical form or structure (isomorphism) between X and Y clearly cannot be the sole basis of visual similarity, for the depiction lacks one physical dimension. An isomorphism between only the surfaces of the scene projected to a given viewpoint and the depiction X is conceivable but only under conditions where the scene Y is viewed monocularly and with no head movement, isolating the projected surfaces to establish the isomorphism. Alternatively, the scene could be conceptualized in a static, picture-like way and an isomorphism established between the conceptualization and the depiction, despite the absence of any * Psychologist, College of Idaho, Caldwell, ID 83605 U.S.A. (Received 5 June 1976.) actual fixed optical projection of the scene. But this alternative puts the similarity beyond the scope of empirical investigation and simply displaces the problem from representation to similarity. Finally, one might suppose that some sort of physical correspondence could be found at least between the color spectra of the light reflected from the scene nd the representation. In order for any such comparison to be possible, however, some isomorphic structure in the sources of the two spectra is required. Except for the uninteresting case of a homogeneously pigmented picture-surface said to represent a homogeneous film color, either contours or forms, however indistinct, are logically necessary for a point-to-point correspondence. Hue correspondence is not independent of form correspondence, and the question again becomes one of specifying a physical isomorphism between X and Y. (Of course there could be a hue, shape, or another correspondence between the surface on which the picture appears and some other environmental surface, but this is irrelevant to the problem of pictorial representation). A functional approach to the resemblance hypothesis fares no better. It is implausible that a depiction of an object could functionally substitute for the object. A still life may look like a bowl of fruit (whatever that might mean), but it cannot be eaten. Objects and their pictures do not afford the same behavioral possibilities. In some cases nevertheless, a picture of an object may serve symbolically as a cue or signal for behavior in the place of the object itself, even in animals such as pigeons or laboratory rats. While this is indeed a sort of functional resemblance of the object and its picture, such stinmulus generalization must be established carefully under laboratory conditions to be reliable. It hardly seems to be the model for the human perception of pictures of perhaps unfamiliar

Dermatitis of Humans Caused by the Fowl Mite, Dermanyssus gallinae (Deg.), at London, Ontario

In November, 1955 two women in a room in a private hospital in London, Ontario, were found to be affected by an irritating dermatitis distributed generally over the body. The causative agent was an infestation of mites which were found in the bedding, over the walls of the room and on furniture. Collections of the mites were made in the room on November 18, 19 and 20. They were also found clustered about a bruise on an apple in a bowl of fruit in the room. The mites were sent to Dr. E. W. Baker, United States National Museum, who kindly identified them as the fowl mite, Dermanyssus gallinae (Deg.). Some specimens were retained for the collection of the U.S. National Museum and others have been mounted on slides No. E23.95-98 in the collection of the Department of Zoology, University of Western Ontario.