This book is about how energy, risk and governance are intertwined in the development of the nuclear industry in India and its relationship with the Indian public. It provides a rare insider-view of how the nuclear establishment thinks about risk, contrasted with public understandings of nuclear risk. Energy, Risk and Governance presents a nuanced picture of why nuclear energy is still considered by some as a rational choice. This is in spite of its risks, the ambiguities in both expert and public risk perceptions, and the internal reflexivities that have emerged within the nuclear establishment as a result of the Fukushima-Daiichi disaster that is absent from public discourse. The insights in this book are not unique to India and similar observations can likely be made across the global nuclear industry. Reflecting on what this means for risk governance in practice, this book proposes practical suggestions and some tools that practitioners in the nuclear industry can use in public engagement, risk communication and deliberation at various stages of decision-making.
This book is about how energy, risk and governance are intertwined in the development of the nuclear industry in India and its relationship with the Indian public. It provides a rare insider-view of how the nuclear establishment thinks about risk, contrasted with public understandings of nuclear risk. Energy, Risk and Governance presents a nuanced picture of why nuclear energy is still considered by some as a rational choice. This is in spite of its risks, the ambiguities in both expert and public risk perceptions, and the internal reflexivities that have emerged within the nuclear establishment as a result of the Fukushima-Daiichi disaster that is absent from public discourse. The insights in this book are not unique to India and similar observations can likely be made across the global nuclear industry. Reflecting on what this means for risk governance in practice, this book proposes practical suggestions and some tools that practitioners in the nuclear industry can use in public engagement, risk communication and deliberation at various stages of decision-making.
Taiwan's rapid socio-economic and political transformation has given rise to a gender-conscious middle class that is attempting to redefine the roles of women in society, to restructure relationship patterns, and to organize in groups outside the family unit. This book examines internal psychological processes and external societal processes as the feminist movement in Taiwan expands and new gender roles are explored. The contributors represent a cross section of different disciplines - history, anthropology, and sociology - and different generations of China/Taiwan scholars. They place the issues facing Taiwan's women's movement in social, political, and economic contexts. The book examines gender relations, the role of women in Chinese society, and issues related to women in China throughout history. Feminism and gender relations are also viewed from the context of film and literature. The authors look at the contemporary roles that women play in Taiwan's work force today, how the sexes perceive each other in the workplace, and more.
After its completion in 1598, The Peony Pavilion (Mudan ting) began a four-hundred-year course of transmission and dissemination in China and around the world. Within China, the play’s wide popularity propelled its appearance in numerous editions, adaptations, and libretti. Performances ranged from “pure singing” at private gatherings to full stagings in commercial theaters. As the crown jewel of Kun opera reportoire, Mudan ting has a richly documented history and lends itself to careful study. In the late twentieth century, however, classical Kun opera is on the verge of extinction in China, and creative talent is gravitating to centers outside China’s mainland. In 1998, the play was reintroduced to audiences in Europe and North America in various versions, adding new chapters to the story of the work. Peony Pavilion Onstage examines Tang Xianzu’s classic play from three distinct viewpoints: public-literati playwrights; professional performers of Kun opera; and quite recently, directors and audiences outside China. Catherine Swatek first examines two adaptations of the play by Tang's contemporaries, which point to the unconventionality of the original work. She goes on to explore how the play has been changed in later adaptations, up to its most recent productions by Peter Sellars and Chen Shi-Zheng in the United States and Europe. Peony Pavilion Onstage is essential reading for scholars and performers of this masterpiece and other great works of Chinese drama.
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