Copyright Approaches of the United States And China: A Rhetorical Perspective

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  • Language: English
  • Format: 22.6 x 15.2 x 1.6 cm
  • Page: 201
  • Publication Date: 10/2017
  • ISBN: 9787564912192
  • Publisher: Henan University Press
Table of Contents
Chapter One Introduction to the Study
1.1 Introduction
1.2 Problem Statement:Reality of China’S Copyright Protection versus the Expectations of the United States
1.3 westerrd/Greco—Roman Rhetorical Tradition
1.4 U.S.Cultural Values and Beliefs
1.5 Chinese Rhetorical Heritage
1.6 Chinese Cultural Values and Beliefs
1.7 Global Copyright Practice and the U.S China Debate
1.8 Rhetoric:A General Defmitioand its Relatedness to the Project
1.9 Rhetoric and the U.S China Copyright Approaches: Meta—Methods.
1.10 Conclusion
Chapter Two Methods
2.1 Introduction
2.2 Main Research Questioand Sub—Questions
2.3 Quantitative and Qualitative Methods versus Rhetorical Criticism
2.4 Why Comparative Rhetorical Approach
2.5 Cluster Analysis: An Approach to Articulate the Author's Intentioothe Audience
2.6 Intercultural Rhetoric/Communication: The Approach to Cultural Values and Beliefs as Well as Behaviors
2.7 Marxist Criticism: An Ideological Approach to the U.S.— China Conflicts over Copyright Practice
2.8 Researcher Role
2.9 Research Materials
2.10 Conclusion
Chapter Three Rhetorical Tradtions and Western(U.S.)/Chinese Legal (Copyright) Approaches—A Cluster Analysis
3.1 Introduction
3.2 Rule by Law or Rule by Man: The Concept of Virtue/Ethos in Early Greco/Romaand Chinese Rhetorical Traditions
3.3 Plato's Concept of Virtue in Protagoras
3.4 Ethos as Human Character in Aristotle's On Rhetoric
3.5 Cicero's Ideal Orator in De Oratore
3.6 Chinese Rhetorical Tradition: Confucianism and Daoism
3.7 Westerand Chinese Concept of Virtue/Ethos and its Potential Impact on U.S.and Chinese Legal (Copyright) Approaches: A Comparisoand Contrast
3.8 Conclusion
Chapter Four The Impact of Cultural Traditions othe U.S.and China Legal/Copyright Approaches——the Cultural Dimensions
4.1 Introduction
4.2 U.S.Cultural Dimensions: Cultural Values and Beliefs Revealed in the Declaration of Independence and the U.S.Constitution
4.3 Universalism, Individualism, and Low Power Distance: U.S.Cultural Dimensions and Values and Beliefs
4.4 Chinese Cultural Dimensions: Cultural Values and Beliefs Revealed ithe Constitutioof the People's Republic of China and Deng Xiaoping's Southern Tour Speeches
4.5 Particularism, Collectivism, and High Power Distance: Chinese Cultural Dimensions and Values and Beliefs
4.6 Cultural Dimensions and Their Potential Impact on the U.S.—China Copyright Approaches: A Comparison and Contrast
4.7 Conclusion
Chapter Five The U.S.and Chinese Approaches to Copyright Practice—AIdeological Criticism
5.1 Introduction
5.2 Global Copyright Protection: From Internationalization to Globalization
5.3 The U.S.—China Copyright Conflicts: The 1992 MOU and the 1995 U.S.—China IP Agreement
5.4 The Ideology of the Conflict: Implications for the U.S.and Chinese Copyright Approaches
5.5 Conclusion
Chapter Six Discussions and Conclusions
6.1 Introduction
6.2 Summary of Research Results
6.3 Conclusions
6.4 Remendations for the Discipline and Policy Makers
6.5 Limitations of the Study
6.6 Contributions
Sample Pages Preview
Collectivism/communitarianism "encourages members (of the group) to leave a legacy to society, neighborhood, and family, which lasts beyond the individual life" (Hampden—Tumer and Trompenaars, 2000, p.79).This is to say that people on the collectivist side are integrated, from birth on, into extended in—groups that prioritize collective and inner group interests over indivdual ones (Hofstede, 2001).China is the lowest individualist country among the countries investigated—showing the characteristics of "'we' consciousness, collective orientation, particularist, membership ideal, less consciousness of private life, activities imposed by context, traditional society" (Hofstede, 2001, p.227).For instance, for a long time in China, a formal copyright law was entirely missing in the legal discourse.Authors were not benefited much from their creations because copyrights belonged to the nation.In return for their work, they received a very small manuscript fee.
Power distance, the last cultural dimension to be discussed in this chapter, refers to the extent to which a society accepts human inequality (Hofstede, 2001, p.79).
Copyright Approaches of the United States And China: A Rhetorical Perspective