Analysis of Patients’ Consent Right in a Surgery: Triggered from the social event that a parturient in Yulin jumped off a tall building

2019 ◽  
Vol 6 (1) ◽  
pp. 129-156
Author(s):  
Jun-Ling Hou
Keyword(s):  
Tall Building ◽  
Social Event ◽  
The Social

scholarly journals Qualitative Research in COVID 19 Pandemic

2021 ◽  
Author(s):  
Abdolghani Abdollahi Mohammad ◽  
Mohammad Reza Firouzkouhi
Keyword(s):  
Qualitative Research ◽  
Social Interaction ◽  
Quantitative Research ◽  
Social Consequences ◽  
Natural Order ◽  
Medical Procedures ◽  
Epidemiological Models ◽  
Social Event ◽  
The Social ◽  
The Face

Introduction: Quantitative research is not suitable for COVID pandemic research because it does not cover the social consequences of qualitative research. COVID 19 is a social event that is important because of the disruption of the natural order of society. To defeat the disease, social interaction is needed, so qualitative research is appropriate to find the challenges and experiences of society. Therefore, due to the inconsistency of people's health behaviors with epidemiological models, people's vulnerability in epidemics, unexpected consequences or surprising results, extracting participants' experiences from medical procedures and revealing flexibility in the face of social problems, the use of qualitative research in this pandemic that will be important.

Panacea for Pandemic

2020 ◽  
Vol 144 ◽  
pp. 20-29
Author(s):  
Igor’ Yu. Sundiev ◽  
◽  
Andrey B. Frolov ◽  
Keyword(s):  
Social Systems ◽  
Social Consciousness ◽  
Anthropic Principle ◽  
Relative Importance ◽  
Social Event ◽  
Historical Process ◽  
Causal Connections ◽  
Global Pandemic ◽  
The Social ◽  
New Period

The article analyzes the causes of an extreme social event in the format of a global pandemic. They are associated with the “re-quantization of reality” — the change of universal attractors of the historical process, which set specific ways of regulating system structures. The old system-forming meaning of the development of society as a Zoopopulation has finally exhausted its regulatory possibilities; the new meaning is just beginning to integrate social elements for the transition to a psychosocial formation. The clash and struggle of old and new causal connections generates causal dissonance, leads to an increase in entropy in social systems, which, in turn, generates an extremum that threatens humanity with self — destruction-an omnicide. The specifics of a possible suicide of humanity is of relative importance: epidemics, earthquakes, asteroid crashes, and other variants of global misery can threaten and increase until a new sense of development dominates the social consciousness. A real pandemic is the best time for a quantum transition from the old regulation to the new: as soon as the new anthropic principle of managing causal connections prevails, the disease will disappear, and civilization will pass to a new period of its development.

Reading Performance Criticism

1989 ◽  
Vol 36 (2) ◽  
pp. 172-182 ◽  
Author(s):  
Simon Goldhill
Keyword(s):  
Social Performance ◽  
Reading Performance ◽  
Self Awareness ◽  
Dress Code ◽  
Social Event ◽  
Performance Criticism ◽  
The Social ◽  
The Impact ◽  
London Stage

Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cultural ideas and norms to make its point. It implies tacitly what is easily recoverable from other sources about the theatre of the period: the expected class of the audience; the sense of ‘an evening's entertainment’ – attending the fashionable play of the season, with all the implications of the theatre as a place not merely for seeing but also for being seen; the range of subjects and characters portrayed on the London stage of the period; the role of London as a European capital of a world empire (with a particular self-awareness of itself as a capital); the expected types of narrative, events, and language, that for many modern readers could be evoked with the phrase ‘a Fred Astaire story’. If we want to understand the impact of the plays of Ibsen or Brecht or Osborne or Beckett, it cannot be merely through ‘dramatic techniques’, but must also take into account the social performance that is theatre. Ibsen's commitment to a realist aesthetic is no doubt instrumental to the impact of his plays, but it is because his (socially committed) dramas challenged the proprieties of the social event of theatre that his first reviewers were so hostile.

On Comparative History

1957 ◽  
Vol 9 (2) ◽  
pp. 267-279 ◽  
Author(s):  
Bert F. Hoselitz
Keyword(s):  
Social Sciences ◽  
Social Science ◽  
Comparative Method ◽  
A Priori ◽  
John Stuart Mill ◽  
Social Event ◽  
Social Scientists ◽  
Causal Factors ◽  
Social Events ◽  
The Social

When John Stuart Mill composed his System of Logic, he maintained that valid application of the comparative method to problems in the moral or social sciences is impossible, or, at best, inadmissible, since it must be based on a priori judgments. Mill founded his objection to the use of this method in social science on two essentially interrelated propositions: the uniqueness of each social event, and the multiplicity and variety of causal factors which may be considered as having a determining influence on these events. Although this conception of the special nature of social events has, on the whole, remained unchanged, social scientists have freely applied the comparative method to the analysis of social problems. History has been outstanding among the social sciences in rejecting longest the application of this method. The main argument against its use was derived from the description of history formulated by Ranke and his school, a description which was endowed with a philosophical underpinning by Windelband and Rickert, who classified sciences according to method into a nomothetic and an ideographic group. History was the ideographic science par excellence, and with the strong historical emphasis that was placed in Germany upon other social sciences as well, there was a tendency to return to the viewpoint of Mill and to regard as scientifically suspect generalizations in social science based on the application of the comparative method.

scholarly journals Some Ideas about Viewer Re-Mobilization from a Practice-in-Progress

2010 ◽  
Vol 16 (3) ◽  
pp. 83-94
Author(s):  
Marc Couroux
Keyword(s):  
Control Group ◽  
Social Investigation ◽  
Social Event ◽  
The Social ◽  
History Of ◽  
Listening Process

This article presents a practical view of one artist's dealings with the social and political aspects of the concert, seen through a variety of works realized between 1999 and 2006. Couroux's work is centered around the reintegration of the listener-viewer into the social event, specifically the concert format, which has functioned as a control group, enabling him to test some ideas about viewer mobilization. Exploring the potential of art as a motor for social investigation, he exploits the perceptual and cultural prejudices of the viewer to create a productive, creative zone of inquiry. A brief history of anti-virtuosity begins the article (with examples from Xenakis, Barrett, Ferneyhough and Glenn Gould, all of whom have called into question in various ways the totalized persona of the performer), ushering in the feedback processes of his work American Dreaming and the anti-absorptive strategies which underlie le contrepoint académique (sic). Finally, the position of the listener is problematized in two works: Blowback at Breakfast, in which he/she is enmeshed in a panopticon-like voyeuristic bind with the performer, and Watergating, in which shifting modes of aurality force a deconstruction of the listening process itself.

The social rhythm of the rock music festival

Popular Music ◽  
2015 ◽  
Vol 35 (1) ◽  
pp. 64-83 ◽  
Author(s):  
Aksel Tjora
Keyword(s):  
Observational Studies ◽  
Rock Music ◽  
Daily Rhythm ◽  
Social Event ◽  
Music Festivals ◽  
Music Festival ◽  
The Social ◽  
Social Rhythm

AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis will employ a close description of this rhythm's phases, and how transitions between them are interactively negotiated. While rock music festivals certainly celebrate fandom, this paper draws attention to processes that build strong senses of community between participants while joining together in the camping site, outside stage areas. The social rhythm, as it is interactively and artfully produced between participants, makes the festival recognisable as a festival, and attractive as a social event. A profound sense of connectedness between participants is to be found between the tents in the festival camp.

scholarly journals Focus on One or More? Cultural Similarities and Differences in How Parents Talk About Social Events to Preschool Children

2022 ◽  
Vol 12 ◽  
Author(s):  
Megumi Kuwabara ◽  
Linda B. Smith
Keyword(s):  
United States ◽  
Cultural Differences ◽  
The United States ◽  
Dependent Measure ◽  
Negative Events ◽  
Social Event ◽  
Positive Events ◽  
Social Events ◽  
The Social ◽  
Puppet Show

How parents talk about social events shapes their children’s understanding of the social world and themselves. In this study, we show that parents in a society that more strongly values individualism (the United States) and one that more strongly values collectivism (Japan) differ in how they talk about negative social events, but not positive ones. An animal puppet show presented positive social events (e.g., giving a gift) and negative social events (e.g., knocking over another puppet’s block tower). All shows contained two puppets, an actor and a recipient of the event. We asked parents to talk to their 3- and 4-years old children about these events. A total of 26 parent–child dyads from the United States (M = 41.92 months) and Japan (M = 42.77 months) participated. The principal dependent measure was how much parent talk referred to the actor of each type of social event. There were no cultural differences observed in positive events – both the United States and Japanese parents discussed actors more than recipients. However, there were cultural differences observed in negative events – the United States parents talked mostly about the actor but Japanese parents talked equally about the actor and the recipient of the event. The potential influences of these differences on early cognitive and social development are discussed.

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