迈向"十二五"时期中国劳动关系的现状和政策取向

到"十一五"末期,我国二、三产业的就业人员已占劳动人口总数的61.9%,中国的雇佣劳动者已成为劳动人口的主体,劳动关系已成为当今我国最重要的经济和社会关系.通过市场、制度、主体和国际等不同因素的角度.分析迈向"十二五"时期我国劳动关系的现状和存在问题,评估协调劳动关系的法律政策体系,表明"十二五"时期我国应着力加强集体...     

社会主义市场经济条件下工会的根本历史使命--对"组织起来,切实维权"的再认识

当今我国市场经济体制日趋完善,与市场经济共生的各类矛盾也相伴而生。在众多矛盾中,劳动关系矛盾非常突出。协调好劳动关系,是构建和谐社会的关键问题。作为协调劳动关系主角的工会,其作用也随之凸显出来。“组织起来,切实维权”作为协调劳动关系的根本原则,理所当然地成为工会工作的指导方针,成为社会主义市场经济条件下工会的历史使命。     

变动中的劳动世界与工会的未来——第十二届"亚洲社会论坛"侧记

随着经济全球化的发展,各国劳动关系都发生了巨大的变化,工会也遇到了前所未有的挑战。如何在市场竞争中如此激烈的形势下,既要保持国家和企业的竞争力,又能维护劳动者的权益,是各国工会急需解决的重大课题。本届论坛以“变动中的劳动世界与工会的未来”为主题,对亚洲与会各国和地区的劳动关系进行了分析和研究,并注重探讨了工会在劳动关系中应当发挥的重要作用。     

贯彻《劳动合同法》工会要把握"四点"

<劳动合同法>的颁布实施是在我国社会主义法制建设进程中贯彻科学发展观、合理调整社会关系、促进社会和谐的一个重大步骤.这部重要法律在制定过程中经过广泛听取、认真吸收社会各方面的意见,合理地规范了劳动关系,是民主立法、科学立法的又一典范,为构建与发展和谐稳定的劳动关系提供了有力的法律保障,必将对我国经济社会生活产生深远影响.工会组织应积极行动起来,准确把握自身定位,力争在构建和谐劳动关系、维护劳动者权益、形成社会化维权格局、强化监督检查等方面把握基本点、找准切入点、抓好链接点、落实关键点.     

努力探索协调劳资关系的有效途径--威海高技术产业开发区工会坚持"整体联动"、"全优服务"取得实效

随着开发区社会经济成份、组织形式、就业方式、利益关系和分配方式日益多样化和职工队伍不断壮大及企业内部结构日益复杂化的情况下,如何协调和处理好企业劳动关系特别是非公有经济组织劳动关系,已成为各开发区工会的重要工作内容。威海高技术产业开发工会,近年来坚持“整体联动”、“全优服务”,努力探索推进协调劳资关系,取得较好成效。     

第九届"亚洲社会论坛"综述

在经济全球化和区域合作不断发展的背景下,在亚洲各国和地区,以三方协商机制为主的社会对话与合作,应当以保障劳动者合法权益、促进劳动关系的和谐发展为目标,建立诚实互信的社会环境以及完善相关立法.在具体的制度建设上,不同国家和地区可以选择不同形式,积极探索与自身情况相适应的劳动关系协调模式.     

工会组织在创建和谐劳动关系中要做到"五个最大限度"

随着市场经济的发展,用工制度的多元化,劳动关系已成为影响企业发展和社会稳定的重要因素。工会应发挥其组织优势,在创建和谐劳动关系中做到“五个最大限度”,促进企业和职工在愿景、目标、利益上的交融、共进和共赢,推动和谐企业和和谐社会的发展。     

论工会"维权"的发展趋势与对策

随着"强资本"与工会弱势维权之间的矛盾越来越突出,协调劳动关系成为工会维权的主要方式;工会维权的社会化趋势,是由市场经济、职工和工会三方面特征决定的;市场经济是法治经济,工会维权必须依法维权,走维权专业化的道路;形成工会维权"分层定位"趋势的主要原因在于现实中国工会组织形式的多样化和复杂性,工会"两个维护"的性质,以及企业劳动关系的强弱态势.     

"互联网+"新业态企业劳动关系研究——以武汉市Y企业为例

随着信息技术的不断发展,"互联网+"新业态企业的劳动关系逐渐引起了社会的关注.本文通过对武汉Y企业的实证调查,分析了新业态企业劳动关系中存在的问题,提出了相应的解决策略,以期对现有的新业态企业劳动关系研究提供有益的补充.     

企业工会与和谐劳动关系的建构——"工会干部及职工对企业劳动关系的认知与评价"调查报告

企业劳动关系是否和谐,直接影响到我国社会主义和谐社会的建构,而工会能否在构建企业和谐劳动关系方面发挥作用是关键因素.调查显示:我国企业的劳动关系还不够和谐,其原因在于我国劳动力的市场化没有一个合理的劳动力价格形成机制,造成了劳动者收入低,缺少增长机制.若建立这样的机制则要求企业工会能实施行之有效的工资集体协商的博弈行为,而企业工会的依附性使其无法发挥应有的作用.为此,有必要对企业工会的组织体制和运行机制进行改革.     

Introduction to queer circuits: Critical performance and digital praxis

This introduction situates the articles making up this special issue within four thematic clouds, positing queer theorization as broadly relevant for critically engaging with computational technologies and culture. These sub-themes offer suggestions for future queer inquiry and praxis and reflect key terms in performance studies and queer theory that have undergone transformation with the ubiquity of digital technology.     

Women,Science and Culture: Science in the Nineteenth-century Periodical

The Victorian periodical press offers unique insights into many diverse areas of nineteenth-century experience, and the complex relations between gender, science and culture in particular, yet it has been consistently marginalized as a primary resource in academic study. The Science in the Nineteenth-century Periodical (SciPer) project at the universities of Sheffield and Leeds is creating a new point of access to a wide range of non-specialist periodicals across the century by means of a fully searchable electronic index. By detailing the entire contents of each journal, and not just those articles that have a clear scientific relevance, it becomes clear that science formed a fundamental and integral part of nineteenth-century culture. The electronic index, moreover, will include hypertext cross-reference links that will allow the user to identify a dialogic pattern of encounters between ostensibly diverse articles, rather than only to browse in a simple chronological mode. By adopting this innovative approach, the SciPer database will reveal the manifold intertextual relations between the fictional works of women writers like Elizabeth Gaskell and the scientific articles that often appeared in the pages of the same magazines, and will show that writers of both sexes and across several different genres actively engaged in vibrant interdisciplinary debates concerning scientific issues in a forum provided by the periodical. Although the SciPer database itself is not specifically focused on issues of gender, the index will include several periodicals aimed explicitly at a female readership and, by providing access to titles still rarely utilized in modern scholarship, it will offer further insights into the important contemporary debates about women and science, as well as the more subtle ways, in which gendered imagery was employed within scientific discourse. This article details some critical findings from Punch , The English Womans Domestic Magazine , Cornhill Magazine and the Review of Reviews .     

The Liquefaction of Desire: Music,Water and Femininity in Victorian Aestheticism

This article reconsiders Victorian images of mermaids and sirens through a detailed examination of two images: Frederic Leighton's Lieder ohne Worte (1861, oil on canvas, Tate Britain) and Edward Burne-Jones's The Depths of the Sea (1886, oil on canvas, private collection). It demonstrates that the themes of water, music and femininity were entwined in the Victorian imagination, by setting these two paintings within the context of Victorian artistic, literary and cultural production. It shows that musical images were prevalent in the emerging Aesthetic movement. Musical subjects freed artists and audiences from the conventions of narrative interpretation, and allowed them instead to concentrate on exploring mood and colour.

Pictures of mermaids add a further twist to the Aesthetic preoccupation with music. This article reveals that mermaids made explicit the underlying connection between musical performance and sensuality. It also suggests that the idiosyncratic depiction of the mermaid by Burne-Jones and the ambiguous sexuality of Leighton's figures could be read as symptomatic of changing conceptions of desire. It argues that these images embodied the shift from ardour to libido. In other words, love was no longer described as burning and fixed, but as fluid and shifting. This transformation in the way desire was theorised was most urgently presented in Freud's Three Essays on Sexuality (1905). However, this article suggests that the same ideas were being made visible in Aesthetic art and writing from the mid-nineteenth century.     

Carnal teachings: raunch aesthetics as queer feminist pedagogies in Yo! Majesty's hip hop practice

This essay puts forward a notion of “raunch aesthetics,” theorizing raunch as an aesthetic, performative, and vernacular practice: an explicit mode of sexual expression that transgresses norms of privacy and respectability. Raunch aesthetics describe creative practices that often blend humor and sexual explicitness to launch cultural critiques, generate pleasure for minority audiences, and affirm queer lives. The author activates her formulation of raunch in analyzing Yo! Majesty, a hip hop group comprised of black female emcees who openly describe their sexual desire for women, and explores how the queer youth of color she works with have responded to their music. Working beyond the unexamined moralisms that give critiques of raunch culture their legitimacy, the author argues that Yo! Majesty's raunch aesthetics transmit queer and feminist teachings. While celebrating carnal pleasures, these artists critique heterosexism, subvert narratives about the incompatibility of belief in Christ and queer sexualities, and trouble notions concerning the emancipation of coming out of the closet and declaring a stable homosexual identity. In demonstrating how raunch aesthetics generate consciousness raising, the author discusses how her youth participants critically read and consume hip hop while negotiating unwieldy meanings of sexuality and gender presentation.     

Feminism, Aestheticism and the Limits of Law

This article seeks to identify and address the normative void that resides at the heart of postmodernist-feminist theory, and to propose a philosophical framework – beyond postmodernism, but incorporating its central insights – for thinking through the normative questions with which feminists are inevitably confronted in their engagements with positive law. Two varieties of postmodernist-feminism are identified and critically analysed: the ‘corporeal feminism’ of Elizabeth Grosz and Judith Butler, which seeks to ground feminist critical practice in the irruptive capacities of the material body considered as an arte fact of social construction; and the deconstructionist feminism of Drucilla Cornell, for whom ‘the feminine’ is an indeterminate but disruptive force beyond its construction in law and in other social sites. The first component of the argument elaborated here is that each of these approaches ultimately reduces to a form of aestheticism which is incapable of generating a worthwhile and workable feminist approach to the restructuring of politics and law. The second component of the argument involves a return to aesthetics, in particular to the philosophical aesthetics of Kant’s Critique of Judgement. Kant’s aesthetic philosophy, it will be suggested, yields a framework of concepts which, duly re-manipulated, could speak to the very concerns that have inspired postmodernist-feminism: how to attend to (bodily) particularity while avoiding the dangers associated with ‘essentialism’; and how to theorise the propensity of the unrepresentable power of the feminine to exceed both embodied human capacities and the confining rein of socially privileged rationalities. Crucially, however it also responds to a set of preoccupations – those of the feminist lawyer – that cannot be accommodated by postmodernism: how to translate embodied experience into (legal) norms; generalise from the particular; seek consensus; and codify an endless potentiality in the form of law. This revised version was published online in July 2006 with corrections to the Cover Date.     

The Unexpected: Bionic Woman at the Millennium

Wilfred Bion's A Memoir of the Future provides a point of departure for feminist thinking about the millennium. Bion problematizes hopes for the future and associates thought with catastrophic change. Women play an unexpected role in Bion's experimental autobiography, posing provocative questions and unsettling the status quo . Since Bion has little to say about women in his clinical writings, A Memoir sheds light on his thinking and on the post-Kleinian culture of the 1970s. Book I of A Memoir depicts a class- and sex-nightmare played out between men and women, and women and women, in an age of anxiety whose setting appears to be the fascist 'pacification' of Middle England during an unspecified period. In this hallucinatory drama, all encounters are reduced to a brutal fiction of dominance and submission. The violence of the action suggests the primitive mental world of psychosis. Book II of A Memoir satirizes 'the brilliance of masculine thought' through the voices and criticisms of women. But this is the purgatorial movement of Bion's autobiography, inhabited by 'idées mères' (untransformed beta-elements) and haunted by the ghosts of Bion's traumatic war-time experience. A monstrous plot is hatched to kill primitive, fascistic Man, who retaliates and takes the female spoils. Is this the prelude to catastrophic change? Book III stages a country-house debate between different characters who represent aspects of Bion's personality, recapitulating the concerns of his later writing. The debate includes a meditation on childbirth as compared to war trauma, but Bion takes his distance from feminine intuition or common sense. Women fight on both sides of the barriers in the Bionic revolution - becoming, however, figures for the 'unexpected' and precursors of emotional upheaval. The gendering of millennial thought in Bion's Memoir provides an opportunity to scrutinize our own unthought fantasies of change.     

The Between

Thinking with this special issue's group of feminist thinkers – some artists and others scholars – this introduction makes a strong case for co-authorship and a more collaborative humanities, while also insisting that the couple form – that stalwart object of queer and feminist theory – is neither a known quantity nor an exhausted entity, but rather, a field ripe for analysis. Situated squarely within performance studies, this introduction pivots away from questions of ontology and toward method and performativity, in order to ask: what modes of intellectual practice, erotic exchange, political work, and aesthetic experimentation happen uniquely within couple forms, in their most capacious and non-self-same iterations? What queer and feminist work can they do? What, in other words, is possible in the infinity, if indeed it is an infinity, between one and two?     

Guessing in the Gaps

The genesis of this conversation was the forthcoming new Penguin edition - under the general editorship of Adam Phillips - of the works of Freud. Mark and Phillips consider the concept of a 'literary' Freud alongside the 'scientific'or 'clinical' Freud, and discuss the related issues of translation, representation and interpretation, particularly as they bear on psychoanalytic writing. Adam Phillips's relationship to the institutions of psychoanalysis is considered, and the perpetuation of these institutions through the training of psychoanalysts and psychotherapists. Also discussed is the project of psychoanalysis: the nature of psychoanalysis as a therapy as well as a body of ideas. Mark and Phillips make reference to the work of Freud, Lacan, Klein, Winnicott and Laplanche, and to concepts such as the 'enigmatic signifier' and 'transgenerational haunting'.     

Other forms of conviviality: The best and least of which is our daily care and the host of which is our collaborative work

In this collaboratively written essay, artists Park McArthur and Constantina Zavitsanos take a queer materialist feminist approach to the entanglement of dependency and reproductive labor, disability, intimacy, and the impossibility of exchanging incommensurables. The text merges the authors' experiences receiving and providing one another care with their artistic practices, and includes instructive performance scores for past, rather than future, events.