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CHINESE LAW

a) describe a rule, concept, principle or regime (e.g., taxation of business profits
or taxation of technical services) in the context of the Chinese tax legislation; b) describe and compare the
Chinese domestic law with pertinent provisions in
10-15 selected Chinese tax treaties that were concluded in different periods of time (e.g., 1980s-1990s; 2000-
2015; post 2015) with different types of countries (e.g. OECD members, BRICS and developing countries)
(“treaty practices”);
Page 4
c) compare Chinese treaty practices with the relevant provisions of the OECD Model Convention; and
d) to the extent applicable, discuss China’s position in BEPS 1.0 and BEPS 2.0 (Pillar One and Pillar Two) in
regard to the chosen topic; and
e) analyze and assess China’s position on the chosen topic and its convergence or divergence from the OECD
approach (as reflected in the OECD Model and Commentaries) and the standards or practices created through
BEPS 1.0 and to be created through BEPS 2.0.
Deviations from the above are acceptable if the subject matter warrants such deviations

Sample Solution

hand, is concerned with decayed emotion. An inconsistency in Gothic is that ‘Gothic novelists did not know how to release their own feelings of frustration and rebelliousness. Their fiction is both exploratory and fearful’ as Kilgour tells us. It usually results in the death of a villain. Miles has a valid point about how you cannot constrain Gothic to a particular type of text, preferring to class Gothic literature as a taste or preference. Overall, I will show that the reception of gothic writing-its institutional and commercial recognition as a kind of literature- played a fundamental role in shaping many of the ideological assumptions about high culture that we now associate with the term Romanticism. The Gothic novel was first invented almost single-handedly by Walpole as The Castle of Otranto fits most of the classifications we see in Gothic today. ‘The Gothic, like any genre, depends on a system of classification, and because genres, as Derrida argues, are never pure, and systems of classification, according to Foucault, cannot be verified, one is pressed to investigate and contest the validity of the definitions and conceptions typically attributed to the term “Gothic”, a kind of writing that is evidently heterogeneous and impure’ (Alshatti, A. (2008).). Walpole’s novel was imitated in the eighteenth century, but it was enjoyed widespread influence in the nineteenth century partly because of the era’s understanding in dark and fascinating themes. He could be said to have been influenced by Shakespearean dramas because in The Castle Of Otranto he plays around with mental disturbances, where Manfred seeks to marry the soon to be wife of his dead son Conrad to keep his genes alive throughout generations. Lady Macbeth evidently suffers from a psychotic disorder with the misfortune of hallucinations which can be induced by extreme guilt. She has the sense of heavy guilt because her and her husband killed King Duncan in cold blood. Gothic, it can be argued, was instrumental in the decisive shift towards popular fiction in its modern form, aimed at a brood readership, commercially streamlined, form
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