上调个税起征点绝非“一招制胜”

个人所得税征收的初衷在于调节分配,保障民生,缩小贫富悬殊,促进社会和借发展。但现实阶段普遍工薪阶层成为个税缴纳的主体,占到了总纳个税金额的70％左右。这种状况显然与个税设置的初衷是违背的,不仅不利于缩小贫富差距,也不利于刺激民众消费。因此,上调个税起征点,将个税征收的主体转移到富人群体上,     

按要素贡献分配的工会视角与任务思考 --学习胡锦涛总书记"七一"重要讲话的体会

按要素分配和劳动要素公正参与分配是贯彻十六大精神亟待研究与实践的新课题,也是工会贯彻落实胡锦涛同志七一重要讲话需要探索的问题.本文从劳动要素公正参与分配亟待破解的几个现实问题、平等博弈机制的构建与工会职能的强化、能力经济与职工素质培育等方面进行了理论和实践的分析,提出了贯彻实施的对策与建议.     

职工收入分配三项机制指标体系初探

胡敏在《上海工运》2010年第2期撰文认为收入分配问题是职工经济权益的核心,也是维护职工经济权益的难点和关键点。职工收入分配三项机制主要是指职工收入分配协商决定机制、职工收入正常增长机制、职工收入支付保障机制。首先,根据设立的指标体系,结合工会工作实际,将完善制度建设作为当前职工收入分配协商决定机制的重点,推进全面形成平等协商机制,     

北京市部分国有企业收入分配问题的调查与思考

近年来,国有企业经营者与职工收入差距呈逐渐拉大趋势。国企职工工资水平低、增幅小,与社会平均工资渐行渐远。造成这一现状的主要原因是:企业自主分配权限失范,职工民主参与渠道不畅,市场机制调节偏离轨道,政府监控指导收效甚微。为此,应通过加大政府宏观调控力度、规范企业经营者收入分配与监控机制、建立企业职工工资正常增长机制等措施,来改善国有企业收入分配差距过大的问题。     

"入世"后工会维护职工就业权益的战略对策

"入世"将进一步促进中国劳动力市场体系的发展和完善,加速建立市场导向型的就业机制.在这一发展过程中,预期在劳动就业、工资分配以至劳动关系方面都会发生新的变化,出现新的问题.为了扩大就业,稳定就业岗位和减少失业,中国工会必须立足于中国劳动力市场发展的政策选择,从宏观全局来思考如何更好地履行维护职工权益的职能.应建立这样的战略指导思想在可持续发展的基础上强化维护职能.在劳动就业方面,尤其要注重维护职工的长远利益和根本利益.     

“平均工资”的不能承受之重

"张三家财一千万,九个邻居穷光蛋,平均起来算一算,个个身家上百万!"如果社会贫富悬殊的问题没有解决,平均工资快速增长的成果相当多地被"跑在前面"的人分享了。     

“平均工资”的不能承受之重

“张三家财一千万,九个邻居穷光蛋,平均起来算一算,个个身家上百万!”如果社会贫富悬殊的问题没有解决,平均工资陕速增长的成果相当多地被“跑在前面”的人分享了。     

关于长春市部分企业一线职工工资收入状况的调查报告

为深入了解长春市企业职工工资收入分配状况,为建立健全科学的职工收入分配政策、机制提供参考,最近,我们采取发放问卷、走访调查和召开企业不同层次人员座谈会等方式,对我市部分企业职工,特别是一线职工的工资收入状况进行了专项调研。     

按生产要素分配的理论与实践——兼谈按劳分配与按生产要素分配相结合

生产要素主要是指劳动、资本、土地和经营才能。收益在不同的生产要素之间进行分配, 各生产要素在获取报酬时, 是以让渡自己的产权为前提条件的。在改制企业, 工资分配与红利分配的关系越来越紧密, 收入差距将继续扩大。工资改革的基本思路是： 依托企业产权制度改革, 培育和完善市场主体, 建立合理的收入分层机制, 实现三大分配原则, 保证收入分配与社会经济目标和企业经营目标的融合与协调。     

论"劳动价值理论与社会分配原理"的新发展

马克思关于劳动价值理论的基本原理,具有其科学性和实践性.其科学性在于它是对经济实践的客观反映;实践性在于它所涉及的劳动内涵和价值范畴具有其真理的相对性,即随着经济实践的发展和社会劳动内涵的不断丰富,人们对价值构成、价值决定、价值实现、价值分配原理的认识将会"与时俱进".因此,需要结合当代的新实际,深化对劳动价值理论和社会分配原理的认识.     

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 .     

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.     

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.     

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.     

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.     

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'.