深入开展“共同约定行动”在应对金融危机中积极发挥作用

面对国际金融危机带来的影响，四川长虹电子集团工会积极响应全总和中国国防邮电工会号召，努力推动企业开展“共同约定行动”，在应对国际金融危机和灾后重建中较好发挥了作用，促进了企业关爱职工、职工关心企业、共谋企业发展良好局面的形成。     

巩固和发展与职工的密切关系

面对新形势、新任务，企业工会干部必须巩固和发展好与职工的密切联系。     

坚持以人为本 构建和谐企业的实践与思考

中国葛洲坝集团公司经过几十年的发展，目前已形成“管理型、现代化、多元化、国际化”的雄厚实力，企业的和谐程度和职工对企业的归属感及认可度不断提高。面对新的形势和任务，结合深入学习实践科学发展观活动，我们要进一步推进和谐企业创建活动的深人开展，促进企业更加稳定和谐，经济更好更快发展。     

企业工会干部做好维权工作探析

当前，面对全面深化改革、转变经济发展方式的艰巨繁重任务，企业工会干部应进一步提高维权能力，组织动员广大职工发挥主力军作用，推进企业改革发展，为实现中国梦而不懈奋斗。     

寿康永乐：“创争”提升企业实力

近年来，连锁经营企业所面临的市场竞争非常激烈，企业和职工的发展都遇到了前所未有的挑战。面对挑战如何应对？     

关于铁路施工单位构建和谐企业的若干思考

构建和谐企业，既是落实党中央关于建设社会主义和谐社会要求的具体体现，也是适应和谐铁路建设战略、提升企业管理水平和实现企业可持续发展的迫切需要。作为铁路施工企业，面对大规模铁路建设，如何把握发展良机，以发展求和谐，以和谐促发展，是管理者必须认真思考和研究的重要课题。笔者认为，铁路施工企业构建和谐，应从以下六个方面着手。     

保增长 保稳定 实现企业与职工互利双赢

长春市汽车冲压件有限公司是一家专门从事汽车零部件生产的民营企业。多年来企业发展稳定，企业与员工关系和谐。国际金融危机给企业发展带来了严峻挑战，面对宏观经济环境复杂多变的形势，我们带领员工积极响应市委、市政府号召，按照“保增长、保民生、保稳定”的任务和省总工会的要求，为促进企业发展，维护职工权益，实现互利双赢，开展了以落实2008年集体合同、签订2009年集体合同为主要形式的工会与企业、职工的“共同约定行动”。     

金融危机背景下创新发展企业民主管理的探索与实践

金融危机带给企业工会工作的不仅仅是前所未有的矛盾与困惑，也带来了前所未有的创新发展工会工作的机遇。面对突如其来的世界金融危机，嘉陵工会拓展视野．把企业民主管理工作融入企业党政大局，落到职工实际，有效地探索和实践金融危机背景下企业民主管理新途径、新路子，有力地促进了企业民主管理工作融入生产、融入经营、     

应对金融危机我们“共同约定”

2008年下半年以来，美国金融危机迅速蔓延，并波及到了全球。面对企业倒闭潮、裁员潮、降薪潮，在全国范围内，一场工会与企业、职工的“共同约定行动”正在深入开展，各级工会组织一方面督促企业履行社会责任，努力做到不裁员，稳定工作岗位，协商确定薪酬，及时发放工资；另一方面引导广大职工立足本职，争创一流，积极主动献计出力，与企业共同应对危机，促进发展与和谐。     

中铁大桥局劳动竞赛有声有色

在国家拉动内需、加大基础设施建设的战略机遇下，中铁大桥局集团（以下简称“集团”）承建的工程项目大量增加，工期不断提前，管理跨度持续加大。面对新的发展形势，集团工会在重点工程建设中开展了形式多样的劳动竞赛，突出特色，注重时效，大大提高了职工的工作热情，促进了企业发展。     

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 .     

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 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.     

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.     

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'.     

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?