新形势下加强财务人员职业道德建设的思考

在市场经济不断发展、全面深化改革的新形势下,加强财务人员职业道德建设有着重要的现实意义。根据财务工作的性质和特点,进一步明确财务人员职业道德建设的内容,通过正确途径和有效方法,教育、引导财务人员养成道德自律习惯,自觉遵守职业道德规范,用良好的职业道德行为和岗位技能保证岗位工作标准的实现,保证财务工作健康运行。     

我们应提倡什么样的职业道德

我们应提倡什么样的职业道德赵永贵职业道德是整个社会道德的重要组成部分。社会主义市场经济的发展，把职业道德建设提到了极其重要的位置上来。那么，在今天的社会主义市场经济发展过程中，我们应当提倡什么样的职业道德呢？从宏观上讲，社会主义道德的基本要求是爱祖国...     

职业道德建设应是工会抓精神文明建设的重点

职业道德建设应是工会抓精神文明建设的重点●李家钊钟敏全总十二届十二次主席团会议要求各级工会认清形势，服务大局，充分发挥工会在两个文明建设中的作用，并提出，加强职工的职业道德建设是工会抓精神文明建设工作的重点。我们认为这是与职业道德在整个社会道德体系中...     

对学校图书馆职业道德浅探

从学校图书馆管理员在从事本职工作中的职业道德意识、道德关系、道德活动几方面,浅述了图书馆管理员的专业素质水平、角色功能与作用,是直接构成他们的社会形象。从遵义上规定以什么样的思想感情、态度、作风和行为去待人处事,去完成本职工作。     

加强职业道德建设应注意的几个问题

加强职业道德建设应注意的几个问题刘淑梅职业道德是社会职业者在特定的工作和劳动岗位上从事职业活动时，从思想到行为都应遵循的道德规范。作为一种社会意识，它有其本质内涵和特征。在加强职业道德建设的过程中，我们必须从其特点和规律出发，有针对性地、科学合理地进...     

学报编辑主体道德意识研究

道德意识是学报编辑主体意识的重要组成部分.“为他人作嫁衣”作为学报编辑主体的“道德原点”,是形成编辑职业道德规范的基本前提,具有鲜明的“利他”特征.学报编辑主体的道德意识是规范其职业道德实践活动的思想基础.     

工会组织要在职业道德建设中发挥作用

加强职工职业道德建设，是社会主义精神文明建设的重要内容，是从事各种职业的人们树立正确的职业道德、培养良好的职业行为和道德品质的主要途径，是落实党中央《公民道德建设实施纲要》的具体实践，也是工会履行教育职能的一项基本任务。工会组织在职工职业道德教育中务必履行好职责，发挥好作用。职业道德是人之行为的前提和基础。企业职工的思想道德水平直接影响着职工生产创造的积极性。职工需要理解、尊重；需要公平、友情；需要肯定和激励。如果视职工为简单服从企业制度、完成生产任务的消极工作人员，那么，这个企业就不会有活力，…     

关于加强劳动者职业道德教育的几点思考

目前,我国正处在一个由传统的计划经济向社会主义市场经济过渡的社会变型时期。与之相适应的社会职业道德原则也处于一种尚不完善或者说在某些方面还不定型的时期。如何从客观实际出发,按照经济发展的要求来规范劳动者的职业道德行为,这是一个很值得认真研究并予以高度重视的问题,因为它直接关系着社会主义市场经济能否健康有序发展。     

金钱·义务·道德素质——职业道德建设中的几个理论问题

《中共中央关于社会主义精神文明建设指导方针的决议》中,对职业道德问题十分重视,明确指出:“在我们社会的各行各业,都要大力加强职业道德建设。”最近,全国总工会负责同志向全国各条战线上的职工发出培养职业道德,尽到职业责任,以优异的成绩迎接党的十三大召开的号召。这对鼓舞全国各行各业开展职业道德教育,进行职业道德研究,加强职业道德建设都具有十分重要的意义。开展职业道德教育和建设,在我国已经进行多年了,取得了很大的成绩。目前,要进一步地使它更广泛、更深入地开展起来,不仅要认真解决一些具体的实际问题,而且有些理论问题也需要认真研究。本文仅就金钱同职业道德、职业责任同道德义务、职业道德与职工素质等问题,谈一点自己的看法。     

劳动法治：风雨三十年

恩格斯说：“资本和劳动的关系，是我们现代全部社会体系所依以旋转的轴心。”作为“轴心”的劳动关系，决定着“全部现代社会体系”，劳动关系紧张则整个社会体系就紧张，劳动关系和谐则意味着，整个社会和谐就有了重要基础。     

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.