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The third edition of the unparalleled reference on natural ingredients and their commercial use This new Third Edition of Leung's Encyclopedia of Common Natural Ingredients: Used in Food, Drugs, and Cosmetics arrives in the wake of the huge wave of interest in dietary supplements and herbal medicine resulting from both trends in health and the Dietary Supplement and Health Education Act of 1994 (DSHEA). This fully updated and revised text includes the most recent research findings on a wide variety of ingredients, giving readers a single source for understanding and working with natural ingredients. The Encyclopedia continues the successful format for entries listed in earlier editions (consisting of source, description, chemical composition, pharmacology, uses, commercial preparations, regulatory status, and references). The text also features an easily accessible alphabetical presentation of the entries according to common names, with the index cross-referencing entries according to scientific names. This Third Edition also features: More than 50 percent more information than the Second Edition, reflecting the greatly increased research activity in recent years A new section on traditional Indian medicine, with information on nine commonly used herbs More than 6,500 references Two new appendices explaining and illustrating the botanical terminology frequently encountered in the text A revised and expanded index Leung's Encyclopedia of Common Natural Ingredients: Used in Food, Drugs, and Cosmetics, Third Edition will continue to provide a comprehensive compilation of the existing literature and prominent findings on natural ingredients to readers with an interest in medicine, nutrition, and cosmetics.
By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.
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