刊中报

非公餐饮企业民主管理立规中国财贸轻纺烟草工会和中国烹饪协会日前联合提出《关于非公有制餐饮企业加强民主管理促进企业发展的意见》,这意味着非公餐饮企业民主管理工作从此有了规矩。近年来,我国非公有制餐饮企业发展迅速,其从业人员占据非公企业职工总量相当比例。但由于非公有制餐饮企业职工民主     

非公企业建立职工董事监事制度法律研究

在非公企业建立职工董事、监事制度,必须以党的十六大精神为指导,在理论上破除企业民主管理只能在生产资料公有制的基础上才能实行的观念,对各种不利于非公有制企业职工民主管理的法律法规进行清理,同时改变目前以股东本位为特征的公司治理结构的立法模式,而代之以利益相关模式,不仅为非公有制企业职工董事、监事进入公司治理结构创造条件,而且为他们充分发挥作用提供必要的保障。     

非公企业民主管理势在必行

随着改革开放的逐步深入,非公企业对于推动和促进中国经济发展和市场繁荣发挥了不可忽视的作用。但由于企业内部的劳资关系和利益关系发生了很大变化,劳资纠纷和劳资冲突在企业,特别是非公企业中时有发生。实践表明,在非公企业中实行民主管理制度有利于规范和协调非公企业的劳动关系,有助于非公有制经济的健康发展,对促进全社会民主政治建设具有非常重要的意义。因此在现代非公企业中,科学的行政管理和专业管理固然重要,民主管理同样也是关系到企业生存和发展的一个重要环节。在非公企业实行民主管理势在必行。一、非公企业实行民主管理是社…     

企业民主管理立法的难点问题研究

企业民主管理是相对于企业专业管理而言的,主要是指职工依照有关法律、法规的规定,参与企业的经营管理。企业民主管理从立法角度来看,立法宗旨应当如何定位,理论基础和法律依据有哪些,非公企业的民主管理权如何界定,非公企业民主管理的基本形式与其他形式的关系,立法对提高职代会制度的影响以及监督执法等几个难点问题都需要进行深入的研究。     

论非公有制企业开展民主管理的特殊性及意义

在非公有制企业中开展民主管理,对于加强基层民主政治建设,维护非公企业广大员工合法权益,协调劳动关系,优化投资环境是十分必要的,又因非公企业投资主体有不同国别和地区之分,与我国存在着来自政治、经济、文化等方面的差异,所以在我国非公企业中开展民主管理,不应强求形式上的统一,而要看是否通过某种形式达到了预期目的。     

非公有制企业民主管理的立法趋势

当前,除<工会法>、<公司法>等法律对非公有制企业民主管理进行规定外,各地出台的企业民主管理的地方性法规,也对非公有制企业民主管理作了有益探索.为适应非公有制经济的快速发展,应在借鉴各地立法经验的基础上,对非公有制企业民主管理的实现形式、职权、程序、法律责任等作进一步的完善.     

非公有制企业要不要推行职工民主管理？

本文背景:湖北省《企业职工民主管理条例》立法工作已进入立法调研阶段。在工会的前期准备、讨论和湖北省人大组织的调研过程中,对非公有制经济组织中建立职工民主管理制度乃至进行立法的必要性问题开展了认真地研讨。就现实情况而言,这个问题要达成全社会的广泛共识,还有一定的难度,尚有一些理论问题需要探讨——非公有制企业生产资料属于私人所有,其业主拥有自主经营管理的权利。这类企业要不要实行职工民主管理?有人认为:民主管理是生产资料公有制的产物,在非公有制企业里搞民主管理,似乎有侵犯业主所有权和经营权的嫌疑。生产资料所有制…     

非公企业民主管理工作创新和发展的思考

在非公企业中推行厂务公开民主管理工作，是非公企业主、经营管理者和职工群众相互理解支持、监督合作的过程。近年来，平湖市突出重点、创新方法、搞好结合、加强指导、规范运作，使全市非公有制企业民主管理工作不断朝着规范化、制度化、常态化方向发展。     

职代会制度是我国基层民主政治建设和现代企业制度的重要特色

20多年来,每当企业改革的重大措施出台,几乎都有些伴随着对民主管理的质疑和责难,但都没有阻止民主管理前进。改革以来,企业民主管理有了很大发展和提高。一、改革以来我国企业民主管理制度不断发展完善目前,国有企业改制为国有、集体及其控股企业以后,基本上都坚持了职工代表大会制度,越来越多的非公企业、外商投资企业借鉴国有企业的作法,也逐步建立职工民主参与管理的制度。全国建立职代会制度的企业已有38万多家,其中国有、集体及其控股企业15万多家,有22万多家股份制、外商投资和私营等非公有制企业也在通过各种形式实行民主管理。现在…     

探索非公企业职工民主管理的新途径

在非公有制企业比较集中的区域、行业,依托街道、社区、行业工会,建立区域性、行业性职工代表大会制度,是在非公有制企业实行职工民主管理、把党的全心全意依靠工人阶级根木指导方针落在实处的新探索。我们注意在非公企业推动建立职代会工作中严格把好五道关日。一是把好选举关     

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.