事业单位业务层面内部控制分析及建议

事业单位内部控制管理水平的高低直接影响着财政资金的使用效率,建立完善的事业单位内部控制机制,是当前杜绝职务犯罪以及继续深化事业单位管理体制改革的刚需。本文在阐述事业单位业务层面现状时,以W事业单位在实际运行中业务层面的相关工作环节及业务现状为分析的立足点,结合内部控制的观点,对W单位的预算管理、收支管理、政府采购管理、资产管理以及合同管理这五个方面存在的问题进行阐述,分析事业单位内部控制业务层面普遍面临的问题,并以财务的视角提出完善业务层面内部控制的建议。     

对推进事业单位民主管理的探讨

随着社会主义市场经济的发展和改革的不断深化,事业单位体制改革也在全面展开。改革引发出如何调整好各种法律关系、利益关系等一系列问题,尤其是涉及职工切身利益的问题,如何通过建立职工代表大会制度为基本形式的职工民主管理,实现职工民主参与、民主决策和民主监督,成为加强基层事业单位民主政治建设的一个重大课题。     

构建基于HRM的企业劳动关系预警机制研究

劳动关系管理在企业人力资源管理领域日益受到重视,但是劳动关系问题往往"潜伏"于人力资源管理的各个环节中,只是单纯建立一些宏观性的预警制度难以发现并及时解决潜在的劳动关系问题,因此,在企业人力资源管理相对承受的今天,建立基于人力资源管理的劳动关系预警机制具有重要意义。     

试论现代远程教育中人力资源的全面质量管理

现代远程教育人力资源管理应该遵循现代远程教育的特殊规律,借鉴全面质量管理思想,加强师资队伍建设。具体策略如下:进行全员质量教育,树立TQM的核心观念和发展性教育评价质量观念;树立开放观念,建立适应市场的人力资源流动机制;建立师资队伍培训和培养机制,实现人力资源的优化配置;充分发挥激励机制的作用,提高人力资源利用率;抓好管理队伍建设,培养全员参与意识和团队精神。     

窗口型事业单位工会“职工之家”建设刍议

“职工之家”是工会组织服务广大职工的综合平台和有形载体,做好建家工作,对基层工会建设将是有力的推动和促进.窗口型事业单位直接为居民百姓提供政策办事和公益服务,广大窗口职工处在为民排忧解难第一线,工作压力较大.窗口型事业单位工会要针对岗位特点和窗口职工的现实需求,不断加强“职工之家”建设,并在发现问题的基础上进一步完善建家工作,使事业单位服务窗口以更文明的形象、更优质的服务展现于公众面前.     

浅谈推进数字职代会建设

职工代表大会（职代会）是基层民主政治建设的基本制度之一，实践证明，职代会制度建立和推行，促进了企事业单位和谐发展、劳动关系协调稳定。随着企事业单位信息化管理的快速发展，使得职工和职工代表利用网络参与企事业单位的管理、享有知情权成为可能。建立数字职代会，通过现代电子技术整合后建立新的工作平台，可成为改革和完善职代会制度一个新的发展方向。     

聚焦云南

人力资源和社会保障部与云南省政府签合作备忘录 12月7日下午，人力资源和社会保障部与云南省人民政府在北京签署部省合作备忘录，从就业、社会保障、工资收入分配、人才队伍建设、人力资源和社会保障基础建设、信息化建设、交流合作机制7个方面对云南进行重点支持，共同推进桥头堡建设。中组部副部长、人力资源和社会保障部部长尹蔚民，云南省委副书记、代省长李纪恒等出席了签字仪式。（来源：云南网）     

开展创先争优活动 推进基层工会工作

当前,人力资源和社会保障方面的改革与发展正处于关键时期,机关事业单位的养老保险在发展过程中遇到许多新的矛盾和问题,给社会保险经办机构的工作提出了新的更高的要求。我们作为从事机关事业单位社会保险工作的基层工会组织应在党组织的领导下,积极组织工会干部在推动科学发展和推动社会保障制度改革中创先争优，为做好本县机关事业单位的养老保险工作作出新贡献。     

信息超市

正人社部:2014年着力解决养老保险双轨制人力资源和社会保障部部长尹蔚民在全国人力资源和社会保障工作会议上表示,2014年在社会保障方面将推进机关事业单位养老保险制度改革,着力解决"双轨制"、"待遇差"问题。     

论完善城市流浪乞讨人员政府救助机制

城市流浪乞讨人员的救助有赖于政府建立有效的行政机制。针对《城市生活无着的流浪乞讨人员救助管理办法》实施过程中暴露出的一些矛盾和问题,应加强法制建设、实施分类管理、提高工作人员素质、改变单一模式、注重流浪乞讨人员自身能力建设、完善信息沟通平台和建立流浪乞讨人员信用机制、救助与管理相结合、加强危机管理和监督机制建设等。     

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 .     

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?     

Beyond the scarcity scare: reframing the discourse of hunger with an eco-mind

Solutions to world hunger continue to be impeded by a frame – a set of assumptions – that keeps much of humanity focusing narrowly on quantitative growth. The result is greater food production and greater hunger. Yet, across the world another way of seeing, one grounded in the relational insights of ecology, is transforming food systems in ways that both enhance flora and fauna and strengthen human relationships, enabling farmers to gain a greater voice in food production and fairer access to the food produced.     

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.     

Here be monsters: a choreomaniac's companion to the danse macabre

Consider this a vade mecum: an invitation to “walk with me” through more or less uncanny terrains of worlds in the making in search, of(f) course, of monsters. The search will be delving into the areas of “creepypasta:” pieces of cursed prose and pictures that circulate online, waiting to contaminate and possess the next reader. Using a theoretical framework of posthuman and feminist theory, not least the work done by Jacques Derrida and Donna Haraway, this vade mecum asks what it might mean to engage ethically with that which is not supposed to exist, but which haunts us nonetheless. In other words: what does it mean to move, live and engage with spectres in digital times?     

Close Encounters: Solidarity,Servitude and Postcolonial Feminist Affects and Affiliations

Abstract

This essay offers close readings of three texts that in different ways foreground the problems, possibilities and struggle involved in forging affective connections across difference between women: Kate Clanchy, What is She Doing Here? 2008, Jamaica Kincaid, Lucy, 1991a and Marlene Van Niekerk, ‘Labour’, 2004. The author argues that the incomplete and partial nature of affective moments represented in these texts signals possibilities for a cautiously redefined idea of affective feminist solidarity as it is mobilized in the intimacy of domestic spaces.     

The Impersonal Strategy: Re-visiting Virginia Woolf's Position in The Common Reader Essays

The concept of impersonality as a writer's strategy has been exposed to misinterpretations that either fail to exhaust its full meaning and deposit an unequal amount of attention on all components of the term or, in the worst case, tend to distort its true elements. In relation to Virginia Woolf's criticism, in particular, it is a critical commonplace that the author employed an impersonal position in order not to fully materialise her feminist vision, but to shy away from explicitly expressing her feminist convictions and openly supporting women's rights. Indicative of this is the criticism that suggests disapproval of Woolf's reluctance to side with her own gender and declare the power of female personality.

The aim here is to challenge such critical views, separate the discussion of impersonality from its association with that of androgyny, and re-visit the issue of Woolf's employment of the impersonal strategy. I examine two of Woolf's essays on nineteenth-century women writers included in her first volume of The Common Reader and offer an analysis from both a gender-oriented and a genderless angle. Woolf's strong affinity with female conditions of oppression, her modernist convictions, her need to compromise with the male-dominated context of the time and her concurrent urge to co-operate with the common reader of an unspecified sex for the sake of artistic creation reveal more complex reasons behind her intentions than those examined by critics so far.