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The Duty of Medical Practitioners and CAM/TCM Practitioners to Inform Competent Adult Patients about Alternatives
The book pays interest to a small and almost untouched topic: a health practitioner’ s duty to inform about alternatives. It covers both orthodox medicine practitioners and CAM practitioners. The topic is explored in a co mparative way, examining the laws of not only common law jurisdictions, such as the USA, England, Canada, Australia, New Zealand, but also two East Asia jurisdictions ( China and Japan ) . It uses the collective wisdom of several common law jurisdictions, but also differentiates them. It places the issue of “disclosure of alternatives” in a clear and wider context, making a cogent distinction between diagnosis/treatment and information disclosure.
Towards a Chinese Civil Code
Currently, China is drafting its new Civil Code. Against this background, the Chinese legal community has shown a growing interest in various legal and legislative ideas from around the world. Within this context, the present book aims at providing the necessary historical and comparative legal perspectives. It concentrates on substantive private law and civil procedure, both in China and in other jurisdictions. These perspectives are of considerable importance for the present codification work. Additionally, the book is dedicated to commemorating the centennial of the first Western-influenced and civil law-oriented Civil Code of China, the Da Qing Min Lü Cao An of 1911. The following topic...
Transforming Tradition
Explores the history and lingering effects of governmental reform of Chinese theater, post-1949
Inscribing Jingju/Peking Opera
What was the most influential mass medium in China before the internet reaching both literate and illiterate audiences? The answer may surprise you...it’s Jingju (Peking opera). This book traces the tradition’s increasing textualization and the changes in authorship, copyright, performance rights, and textual fixation that accompanied those changes.
A Selective Guide to Chinese Literature 1900-1949
The aim of the Selective Guide is to facilitate the first stage of research for those interested in Chinese literature between 1900 and 1949. It provides the reader with basic information on more than 300 words by Chinese writers. The contributions are based on independent research of sinologists from numerous countries. The guide consists of four volumes, which deal with the novel, the short story, the poem, and the drama (the current volume) respectively. Each volume contains an introduction which surveys the development of the particular genre and its characteristics in the period covered. All entries contain bibliographical information, summary of content and appraisal of the work as well as references to secondary sources and translations.
Selective Guide to Chinese Literature 1900-1949, Volume 4 Drama
The aim of the Selective Guide is to facilitate the first stage of research for those interested in Chinese literature between 1900 and 1949. It provides the reader with basic information on more than 300 words by Chinese writers. The contributions are based on independent research of sinologists from numerous countries. The guide consists of four volumes, which deal with the novel, the short story, the poem, and the drama (the current volume) respectively. Each volume contains an introduction which surveys the development of the particular genre and its characteristics in the period covered. All entries contain bibliographical information, summary of content and appraisal of the work as well as references to secondary sources and translations.
Transnational Chinese Theatres
This is the first systematic study of networks of performance collaboration in the contemporary Chinese-speaking world and of their interactions with the artistic communities of the wider East Asian region. It investigates the aesthetics and politics of collaboration to propose a new transnational model for the analysis of Sinophone theatre cultures and to foreground the mobility and relationality of intercultural performance in East Asia. The research draws on extensive fieldwork, interviews with practitioners, and direct observation of performances, rehearsals, and festivals in Asia and Europe. It offers provocative close readings and discourse analysis of an extensive corpus of hitherto untapped sources, including unreleased video materials and unpublished scripts, production notes, and archival documentation.
Chinese Ibsenism
This book is a study of the relation between theatre art and ideology in the Chinese experimentations with new selfhood as a result of Ibsen’s impact. It also explores Ibsenian notions of self, women and gender in China and provides an illuminating study of Chinese theatre as a public sphere in the dissemination of radical ideas. Ibsen is the major source of modern Chinese selfhood which carries notions of personal and social liberation and has exerted great impacts on Chinese revolutions since the beginning of the twentieth century. Ibsen’s idea of the self as an individual has led to various experimentations in theatre, film and fiction to project new notions of selfhood, in particular...
The Poetics of Difference and Displacement
Intercultural theater is a prominent phenomena of twentieth-century international theater. This books views intercultural theatre as a process of displacement and re-placement of various cultural and theatrical forces, a process which the author describes as 'the poetics of displacement'.
Listening to Theatre
"[Wichmann's] writing has authority rarely encountered.... Not only a comprehensive study but [a] study of Beijing theater. A marvelous overview, a virtual encyclopedia." --Choice "Overall, this is a pathbreaking book in terms of contributing to our understanding of the important Chinese art form that is the Beijing opera. It is a model of production. Its wealth of detail does not prevent it from being eminently readable. The author has unparallelled mastery of knowledge, understanding, and appreciation of her subject. The book will certainly help not only to make Beijing opera better understood in the West but also to make it more widely performed and appreciated." --China Review International, Spring 1994
