增强职工队伍凝聚力的实践与思考

做好职工的思想政治工作是增强职工队伍凝聚力的重要方面。在大型国有企业，运用一定的教育方法与手段开展识恩、知恩、感恩、报恩的思想教育，是加强和改进新时期职工思想教育工作的现实要求。大庆油田采油三厂一矿采油206队在职工中开展了系列感恩教育活动，增强了职工队伍凝聚力，促进了企业发展。     

工会思想政治工作基本过程的系统分析

工会思想政治工作基本过程是工会对职工开展思想政治教育和管理的实践过程。工会思想政治工作基本过程主要包含有工会思想政治教育实施过程、职工思想品德形成过程和思想政治教育矛盾转化过程,三者相互联系,相互影响,相互制约,共同构成了统一的工会思想政治工作基本过程。     

关于工会开展职工思想政治工作情况的调查

为深入贯彻落实中央《关于加强和改进思想政治工作的若干意见》 ,有针对性地加强和改进职工思想政治工作 ,从３月初到４月中旬 ,我们就各地工会开展职工思想政治工作的情况进行了专题调查。一、工会开展职工思想政治工作的基本情况（一）以理想信念教育为核心 ,夯实思想政治工作基础。近年来 ,全总和各级工会把组织职工学习邓小平理论作为思想政治教育的重要内容 ,始终坚持在职工中广泛开展邓小平理论的学习活动 ,引导职工认识社会主义初级阶段的基本国情 ,关心国家的发展前途 ,在全社会形成共同理想和精神支柱。（二）创新活动载体和活动方…     

对职工思想政治工作情况的调查

根据全总宣教部的部署，今年 4月至 6月，我们对全省企业职工思想状况及工会做好职工思想政治工作情况进行了调查。 　　一、我省职工思想政治工作的基本状况 　　近五年来，我省各级工会大胆探索，勇于创新，职工思想政治工作呈现出一些新特点。 　　1坚持理论灌输、思想领先，主题教育活动突出了针对性。近几年来，各级工会始终把主题教育作为职工思想政治工作的主要内容，每年确定一个教育主题，坚持科学理论的教育与灌输，着力于解疑释惑、理顺情绪、调整心态，引导职工解放思想、更新观念、增强信心、坚定信念，把思想统一到党的路线…     

新形势下工会开展职工思想政治工作的几点思考

在全面深入改革的新形势下,企业要攻坚克难,谋求生存和发展,要求工会认真履行教育职能,发挥好宣传、教育、引导、提高职工素质的作用;把握形势任务的变化,为思想政治工作赋予新的内涵,创造性地开展职工思想政治工作;健全完善保障机制,实现思想政治工作的常态化;不断创新活动载体,增强思想政治工作的辐射力和实际效果,从而调动职工建功立业的积极性,为企业发展提供强大的思想保证和动力支撑。     

加强思想文化教育提高企业职工整体素质

加强思想文化教育,提高企业职工素质是企业生存和发展的重要途径.科技文化教育为提高职工素质奠定科学基础;政治思想教育为提高职工素质提供道德根源;激励机制是提高职工素质的动力源泉.     

新书信息

《职工思想政治教育学》本书由中国工运学院副院长兼教育长、中国工会学研究会副理事长、中国历史唯物主义研究会常务理事梅岱和中国工运学院工会学系副主任,中国工会学研究会常务理事林云高主编,本书将由北京大学出版社1988年6月出版。本教材认真贯彻党的十三大精神,着力于理论联系实际,充分反映职工思想政治教育理论研究的最新成果和实践活动中的新鲜经验,既力求揭示思想政治教育的一般规律,又注意探索工会职工思想政治教育的特殊规律。比较全面系统地阐明了职工思想政治教育学中的重大理论问题和实践问题。内容简明,层次清楚,通俗易懂。因此,它不仅可以作为全国工会院校、     

入世后高校工会加强职工思想政治工作探析

我国工会的本质特征决定了加强职工思想政治教育是我国高校工会实现教育职能的重要组成部分。加入WTO,对我国的高等教育将产生重大影响,我国高校工会必须切合WTO实际,有针对性地加强职工思想政治教育,促使广大教职工积极推动教育创新,增强教育竞争意识,抵御西方敌对势力的西化分化图谋,提高依法治教水平。     

劳动关系变化中工会教育职能的履行

国有企业改革使企业劳动关系发生了深刻变化 ,职工思想上也出现了这样或那样的困惑。做好劳动关系变化中的职工思想政治工作 ,是工会履行教育职能的重要任务     

浅谈寓教于乐教育方式在职工思想教育中的运用

直观形象、寓教于乐的教育方式,易于激起基层职工受教兴趣,便于理解教育内容,并可保证教育计划的落实和发挥教育的潜移默化作用,还有助于工会宣教干部掌握教育艺术,因此,理应在企业基层单位的职工思想教育中进行运用和推广。     

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.     

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.     

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?     

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.     

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 Millennium: Black Women's Writing

Nasta's piece forms part of an oral contribution to the plenary session of the conference in which a variety of speakers discussed the many questions that the conference had raised. It focuses specifically on the location and history of black women's writing in Britain and attempts to address issues that have dominated critical and theoretical discussion for some years. The question as to how far we have moved on in our reading and assessment of these literatures is discussed; also the fact that perhaps debates we now see as being contemporary were also current in the experiences of earlier representations of Britain from a black or Asian perspective. Nasta makes some tentative suggestions in terms of how we might move forward.