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What is a Critical Illness Insurance?
Many customers have considered or are considering buying a critical illness insurance policy, but few of them really understand its functions and significance when they make their purchases. So, let us introduce the relevant knowledge of the critical illness insurance to you.
Critical illness insurance is a type of illness insurance in health insurance. The stipulated illnesses to be covered refer to a condition which is severe, probably fatal, significantly accelerating a premature death and affecting the ability to work and quality of life.
Essentially different from a general life insurance, critical illness insurance, theoretically and initially, was designed to cover the huge treatment expenses after the insured was diagnosed with a serious disease, rather than to financially compensate for the death of the insured. Certainly, critical illness insurance also plays a large part in financial assistance to help the insurance holder alleviate the huge impact on the family when severe illness results in incapacity to work and corresponding reduction in income.
The Origin of Critical Illness Insurance
The concept of the modern critical illness insurance firstly appeared in South Africa in the 1960s. At the time, a doctor named Marius Barnard noticed that a lot of patients who went through a heart transplant operation or other serious operation survived, yet struggled with money issues. These patients were heavily debt and incapable of paying or maintaining their previous standard of living. Sometimes survival even meant bankruptcy. Dr. Barnard believed that those survivors of critical illnesses needed a new type of insurance products to protect them.
The relatively developed insurance against critical illnesses was born in South Africa in 1983. It only covered four or five conditions at the beginning. This type of insurance was subsequently introduced to the rest of the world and developed rapidly. It has played an important role among many insurance markets around the word, especially in United Kingdom, Canada, Australia, South Africa, Southeast Asia and other countries and regions. The critical illness insurance usually emerges as a form of supplemental insurance. With insured conditions increasing, the critical illness insurance has covered dozens of major diseases so far. While the scope of its protection is extending, an integrated insurance product arose including critical illness, life and accident insurance.
The Critical Illness Insurance Overseas
The critical illness insurance was introduced to the UK in the mid-1980s and then developed rapidly. In the 1990s, it became one of the best-selling and most popular forms of insurance with policyholders. According to statistics, 10% of the British working class have purchased critical illness insurance, and in 1998 the premiums for the critical illness insurance accounted for 23.6% of the new contributions in the United Kingdom.
In Southeast Asia, especially Malaysia and Singapore as well as the regions of Hong Kong and Taiwan in China, the critical illness insurance has also developed quite well. Since 1996, over one million critical illness policies in Southeast Asian area were signed annually.
The Critical Illness Insurance in China
The critical illness insurance was initially introduced into China in 1995. Many insurance companies subsequently issued their own insurance products against severe diseases. There were 199 products belonging to serious illness insurance among the 796 health insurance products reported by the China Insurance Regulatory Commission (CIRC). The statistics of the CIRC showed that at the end of 2005, the health insurance premiums in China had accounted for 11% of the whole contributions of personal insurance, in which the premiums of the critical illness insurance were around 3.8 billion RMB.
Terms of Use on Definitions of Conditions of Critical Illness Insurance, jointly developed by the Insurance Association of China and Chinese Medical Doctor Association, have been gradually distributed to life insurance companies currently.
English to Chinese: Paul Kelly: Interviewing an Australian Icon General field: Art/Literary Detailed field: Journalism
Source text - English Paul Kelly: Interviewing an Australian Icon
JASPER BRUCE
07 Jan 2019
From setting Shakespearean sonnets to music to releasing an entire album of funeral songs, Australia's guitar-wielding poet laureate Paul Kelly shows no signs of slowing down.
Paul Kelly
Cooking Vinyl
18 October 2018
If you're not from Australasia, you might have heard of Paul Kelly. You might not have. He's toured overseas extensively, yes, though as he tells us, "when we tour America, we play in little clubs. I love that."
It's not surprising that discrete, hole-in-the-wall venues suit Mr. Kelly. Despite a career spanning four decades, he has none of the arrogance that is seemingly required for international stadium tours. So perhaps it stands to reason that those north of the equator may not be familiar with his brand of folk-cum-rock-cum-country music.
If you do happen to be Australian, Paul Kelly needs no introduction. His music is dogmatic. Unapologetically domestic. Even at first listen, intensely familiar. It's prerequisite to any barbecue, road trip or summertime Christmas celebration (that's not a typo). No one else has chronicled our culture so conclusively. No one else has been the soundtrack to over four decades of childhoods. No one else has crawled their way into the hearts of a nation with such ease.
But even on home soil, Paul Kelly is unassuming. When I call him up, it's as if I'm calling an interstate relative, not a musical icon. There's a gentle, almost timid, grace to everything he says, and the way he says it. You could argue that this easily-underestimated presence is the very essence of Kelly's music. For years he's been spinning tales of the unlikely hero and the beautifully quotidian. As Kelly puts it in one of his songs, the "nonchalant phenomenon." It's perhaps unsurprising that the redemption of the underdog resonates so cleanly with Australia -- a convict country forever punching above its weight.
Kelly himself emerges as something of an unlikely hero, too. At 63, he's releasing material more rapidly than ever, and over the last decade has expanded his musical horizons through a foray of new projects. From setting Shakespearean sonnets to music to releasing an entire album of funeral songs, Australia's guitar-wielding poet laureate shows no signs of slowing down. This year, he's released yet another record, Nature, on which he's set a handful of his favorite poems to music. Sylvia Plath, Walt Whitman, and Philip Larkin are a few of the stops on this journey through the canon of modern poetry. Kelly brings these literary treasures to life with the help of some old friends, and his patented musical stylings. PopMatters chats with Paul Kelly about collaboration, poetry, and gravy.
[Poetry is central to the new album, what is so special to you about the poems you've chosen to adapt? ]
A couple of them I've lived with for a long time. The Dylan Thomas one that starts the record, "And Death Shall Have No Dominion" is one of those poems that has very vivid imagery. It's kind of a mysterious poem in some ways. It sort of works in a non-rational way. I love Sylvia Plath. I've loved her for a long time. There's quite a few poems of hers I like, but that's the first one I've put to music.
The very act of writing a poem is an act of joy or an act of affirmation. I guess just thinking generally about using poetry, it's only something I've done over the last five or six years. It's a new discovery for me. I've certainly read poetry all my life but I've never thought of that as a way to write songs. I was involved in a project about six years ago putting poems to music for a classical music project and that sort of started to turn the key for me really. Then I decided to do a record of Shakespeare sonnets a couple of years ago. So since then I've kind of gotten into the habit of if I like a poem I'll have a look and see if I can put music to it. It's just become another way for me to write songs. It's sort of sped up my songwriting in a way. For me, writing words is always the slowest part of writing songs. Nature has got five poems so I only had to write lyrics for seven songs. [laughs]
[That's so interesting that you say the words come more slowly. Whenever I think of your music I think of such true-to-life storytelling.]
I always have much more music than I have words. Most times when I'm writing songs, I've got the music as sort of a roadmap of the song, but without the words filled in. I might have a title or a few phrases but often its just sounds that I sing and I think that it sounds like a song, and words come afterward. They usually take a while.
[I've heard that Mick Jagger writes, or did write, in a similar sort of way where he'd vocalize sounds and the band would then adapt them into words.]
Yeah, I think quite a few people do that. Often when I get a song idea I just sing. It's not words, it's just sounds. They sound like words but they're not. Or they might be nonsense words. Some of those words sort of speak. Obviously, you need to get words to fit the sounds. It's always some kind of fall from grace, putting the words in. When they're not words it's all possibility. At some point, if you want to actually write a song, you have to put some words in there.
「诗歌是这张新专辑的核心，那么你挑选采用的这些诗歌对你而言有什么特殊含义吗？」
其中几首诗我是很早以前就读过，并影响了很长一段时间。专辑的第一首歌是狄兰·托马斯（Dylan Thomas）的一首诗《死亡也一定不会战胜》（And Death Shall Have No Dominion），富有非常生动的形象表现力。从某些角度看，它还有种神秘诗的感觉，并不是从理性的视角切入。我非常喜欢西尔维娅·普拉斯，而且喜欢她了很长一段时间。她有好几首诗我都很喜欢，但我第一首写进歌的却不是她的。
写诗本身是一件快乐的事，或者是一种肯定的行为。我觉得过去五六年的时间里，我唯一做的一件事就是从整体思考怎么使用诗歌，这对于我来说是项全新发现。我虽然读诗确实读了一辈子，但我却从未想过以这种方式写歌。六年前，我参加了一个项目，一个古典音乐的项目，把诗词写进音乐当中。也许，这个项目于我来说就是一个契机。于是我在几年前就决定要做一张莎士比亚十四行诗的专辑。所以自那之后，每当遇到一首我喜欢的诗歌，我都会尝试将它放到音乐之中。这似乎就成了我的兴趣，并且无形之中加快了我写歌的速度。我一直认为写词是歌曲创作过程中最缓慢的一部分。《自然》这张专辑中收录了五首诗，所以我只用写七首歌的歌词。【笑】
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Graduated from Hubei University of Economics with a Bachelor’s Degree in Translation, I currently am studying for Master of Interpreting and Translation am expected to graduate from Western Sydney University by July 2020.
I’m a trained translator and interpreter, who is enthusiastic about and endeavouring to excel in what he is doing. I have a passion for medical and legal interpreting as well as technology and subtitle translation. I have been studying translation and interpreting for more than 5 years. I also had one-year-long experience translating subtitles for an Internet company when I was in China. The job also included transcribing the lines to be translated. Most of my works were about digital technology and related products.
In addition, I have also self-developing skills of computer-related art designing as hobbies, like poster designing, photographing, photo and video editing.
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