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
{"title":"Notice of Errata","authors":"A. Woolley, B. Alarie, Andrew Green, Edward M. Iacobucci, Sari Graben, Abbey Sinclair, Benjamin H. Barton, H. Lockett, Charles T. Lockett","doi":"10.1109/TPDS.2002.10001","DOIUrl":"https://doi.org/10.1109/TPDS.2002.10001","url":null,"abstract":"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.","PeriodicalId":73898,"journal":{"name":"Journal of pharmacy practice and research : official journal of the Society of Hospital Pharmacists of Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"62867930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Notice of Errata 勘误通知
{"title":"Notice of Errata","authors":"","doi":"10.1080/14992020400050070","DOIUrl":"https://doi.org/10.1080/14992020400050070","url":null,"abstract":"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.","PeriodicalId":73898,"journal":{"name":"Journal of pharmacy practice and research : official journal of the Society of Hospital Pharmacists of Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14992020400050070","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59938289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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