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Journal of pharmacy practice and research : official journal of the Society of Hospital Pharmacists of Australia最新文献

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Chapter 7: Participating in Interdisciplinary Care Planning 第七章:参与跨学科护理计划
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引用次数: 1
Notice of Errata 勘误通知
A. Woolley, B. Alarie, Andrew Green, Edward M. Iacobucci, Sari Graben, Abbey Sinclair, Benjamin H. Barton, H. Lockett, Charles T. Lockett
No one doubts that lawyers have fiduciary duties. Yet the justification for and scope of those duties is surprisingly unclear. Case law grounds fiduciary duties in the fiduciary’s exercise of discretionary authority. But discretionary authority is only an occasional – and sometimes ethically problematic – aspect of the lawyer’s role, not its defining feature. Further, case law has been neither clear nor consistent in defining the specific obligations that attach to the lawyer’s duty of fiduciary loyalty. Academic literature on fiduciary duties provides only a partial and somewhat unsatisfactory explanation for the lawyer’s fiduciary status when viewed in light of the normative foundations of the lawyer’s role and case law. Academic literature on the lawyer’s role is, however, also unsatisfactory insofar as, while it explains the lawyer’s duty of loyalty, it does not provide any means for analysing how breaches of that duty ought to be categorized in private law. The article attempts to reduce the confusion over the meaning and extent of the lawyer’s fiduciary obligations. It argues that the content of the lawyer’s fiduciary duties should be informed by the normative structure of fiduciary obligations and by the normative structure of the lawyer–client relationship. The lawyer–client relationship operates at the intersection of private obligation and public duty, and the scope and force of the lawyer’s fiduciary duties reflect that intersection. When understood in this way, the principle underlying the lawyer’s fiduciary status continues to emphasize discretion. It focuses, however, not on the lawyer’s exercise of discretion but rather on the lawyer’s provision of the advice and advocacy necessary for the client’s exercise of discretion. Analysed in light of these founding principles, lawyers ought to be held liable for fiduciary breach in three circumstances: (1) where they violate obligations to clients as a consequence of a conflict of interest or duty; (2) where they undercut the very nature of the representation they undertook to provide; and (3) where, through failing to provide information or providing the client with misinformation, they undermine the client’s ability to make decisions.
没有人怀疑律师负有受托责任。然而,这些关税的理由和范围却令人惊讶地不清楚。判例法将信义义务置于受托人行使自由裁量权的基础之上。但自由裁量权只是律师角色中偶尔出现的一个方面,有时还会出现道德问题,而不是其决定性特征。此外,判例法既不明确也不一致地界定了附属于律师的受托忠诚义务的具体义务。从律师角色和判例法的规范基础来看,关于信义义务的学术文献只对律师的信义地位提供了部分的、有些令人不满意的解释。然而,关于律师角色的学术文献也不令人满意,因为虽然它解释了律师的忠诚义务,但它没有提供任何方法来分析违反该义务的行为应如何在私法中分类。本文试图减少对律师信义义务的含义和范围的混淆。认为律师信义义务的内容应受到信义义务规范结构和律师-委托人关系规范结构的影响。律师与委托人的关系是在私人义务和公共责任的交叉点上运作的,律师信义义务的范围和效力反映了这种交叉点。当以这种方式理解时,律师受信人地位的基本原则继续强调自由裁量权。然而,它的重点不是律师行使自由裁量权,而是律师为委托人行使自由裁量权提供必要的咨询意见和辩护。根据这些基本原则进行分析,律师应在三种情况下对违反信义行为承担责任:(1)由于利益冲突或责任冲突而违反对客户的义务;(二)损害其承诺提供的代理的性质;(3)不向客户提供信息或向客户提供错误信息,损害客户决策能力的。
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引用次数: 0
Notice of Errata 勘误通知
In 1823, Richard Brinsley Peake, a forgotten “hack” playwright, adapted Mary Shelley’s Frankenstein for the melodramatic stage and produced the image of the monster that has dominated since. Presumption; or, The Fate of Frankenstein and its lead actor, T.P. Cooke, introduced the convention of playing Shelley’s creature as an inarticulate beast. The few scholarly works on Presumption accuse Peake of merely silencing and thereby dehumanizing Shelley’s expressive creation. Yet the production radically reinterpreted the monster by way of the most sympathetic and articulate role of the melodramatic stage: the voiceless but virtuous mute. “Frankenstein and the Mute Figure of Melodrama” traces the way Presumption appropriates and adapts the conventions of melodramatic muteness. It shows how Peake physically constructed Shelley’s monster as both victim and villain, juxtaposing the creature’s innocence, expressed in mute gesture, with the inhumanity conveyed by Cooke’s makeup and costume, thus compelling nineteenth-century theatregoers to locate both within a single character. Such a conclusion suggests not only a radical re-evaluation of Peake’s engagement with Shelley: it implies as well a revised and much richer history, even at this early date, of the valence and operations of melodramatic muteness as well as the ostensible moral legibility of melodramatic drama.
1823年,理查德·布林斯利·皮克(Richard Brinsley Peake),一位被遗忘的“hack”剧作家,将玛丽·雪莱的《弗兰肯斯坦》(Frankenstein)改编为情节剧舞台,并创造了自那以后一直占据主导地位的怪物形象。推定;或者,《弗兰肯斯坦的命运》和它的男主角T.P.库克(T.P. Cooke)开创了把雪莱的生物扮演成一只不会说话的野兽的惯例。关于“推定”的少数学术著作指责皮克仅仅是沉默,从而使雪莱富有表现力的创作失去人性。然而,这部作品通过情节戏剧舞台上最令人同情、最清晰的角色——无声但善良的哑巴——从根本上重新诠释了怪物。《弗兰肯斯坦与情节剧的沉默人物》追溯了《推定》对情节剧沉默的惯例的利用和适应。它展示了皮克如何将雪莱笔下的怪物塑造成受害者和恶棍,并将这个生物无声的姿态所表达的纯真与库克的化妆和服装所传达的不人道并置于一起,从而吸引了19世纪的戏剧观众在一个角色身上找到这两者。这样的结论不仅表明对皮克与雪莱的交往进行了彻底的重新评估:它还暗示了一段经过修订的、更丰富的历史,甚至在这个早期的年代,关于情节戏剧的沉默的价值和运作,以及情节戏剧表面上的道德易读性。
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引用次数: 0
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Journal of pharmacy practice and research : official journal of the Society of Hospital Pharmacists of Australia
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