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The relation between a representative and his constituents may be illustrated by a reference to the analogical relation which exists, and to which we have already slightly adverted, in the mutual circumstances of the physician and his patients. The security which patients have for the best application of the physician’s skill does not arise from any ability of theirs to direct his practice, but from the circumstance of having in their own hands the power of choice. In the nature of the case they must place great confidence in his conduct, if they would obtain the benefit of his knowledge. When they select him, they are guided by such evidence as is within their reach respecting his qualifications. They may not always make the wisest choice; because, not being competent judges of the science, they must depend, in a great measure, on collateral facts, or evidence of an indirect character, and are sometimes swayed by irrelevant motives; but the power of selection and dismissal is the most effectual means of securing the best services of those whom they choose; and there can be little doubt that, on the system of each individual selecting his own medical attendant, and trusting to his discretion, patients fare better than on any other plan. And although they cannot antecedently judge of the medical treatment necessary in their case, nor direct the curative process, yet after recovery they can frequently form a tolerable estimate of the skill which has been evinced, and can always appreciate the care and attention of the practitioner; whence there are evidently strong inducements acting on his mind to please and benefit his patients.
Titles of Books, Plays, Articles, etc.: Underline
The Classical Hollywood Cinema Twenty-Five Years Along
Italicize the terms See, See under, See also and See also under when used in indexes, and the expressions To be continued, Continued on , Continued from and Continued on next page.
David Bordwell, Janet Staiger, and Kristin Thompson
We also had to carve out our area of study because as aphenomenon the classical studio cinema isn’t perfectly parallel to thosewe encounter in orthodox art history. It isn’t a period, because classicallyconstructed films are still being made. It isn’t a movement, at least likeothers in film history, because those, such as Italian Neorealism, are far morelimited. It’s somethingelse, and it makes us rethink the categories we use to study other group styles.