不屈打工妹：请法律帮我讨回“承诺”

在前门附近的一家旅店里。我见到施彦萍。正当中午．阳光驱散了寒冷。层里层外暖融融的。她说她从海南赶到北京。目的有两个：一是随同律师拜访人民大学的法学教授。共同讨论她的案子：二是想独自一人在北京度过自己27岁的生日。 马路对面就是久负盛名的前门烤鸭店．里面人头攒动。觥筹交错。热闹非凡。她没有走进去．而是拐到旁边一条胡同中的小饭馆里。要了一碗面条。孤独地坐在窗前。静静地感受着一份寂寞与冷清。她的神情很忧郁。突然。手机响了。上面蹦出男朋友发来的短信：“……生日快乐．永远爱你!”眼圈红了．她急忙背过脸去。 生日过得很简单。生日又过得很不寻常：因为在北京。她去过天安门广场。同时也去过最高人民法院。北京。让她坚定了一个信念——     

原来如此

她是一个在百货公司顺手牵羊的女贼。两年以来，她总在“街上购物中心”作案，但从没被人怀疑过。     

冷面娇娃林文慧

林文慧是歌手梁汉文的女友,因此她与不少圈中人很熟,虽然现与梁汉文的感情稳定,但她却没有想过要这么快结婚,结婚对她来说是颇遥远的事,不过幸福却洋溢在她的面上。冷冰冰的原因     

心中的河

第一条从我生命中流过的河，是被人们玷污了的。从一入眼，我就没见过她的美丽，享受过她的温柔。她总是说着人们教给她的粗俗的话语走过我的身边，用混浊的目光斜视着我，让我觉得厌恶。     

周艳泓:由内而外的魅力

阳光灿烂的周艳泓很健谈,采访她是一件愉快的事情。周艳泓说她喜欢运动,喜欢玩车。无怪乎柯受良飞越黄河要请她做嘉宾。周艳泓很注重精神食粮,喜欢看书学习。她出版过一本书。她还常常写文章,在一些报刊开专栏。     

马克思主义党建理论的重大突破--学习江泽民"七一"讲话中关于在新社会阶层发展党员的论述

改革开放以来,我国社会阶层构成发生了新的变化,新的社会阶层在促进经济发展、社会进步中发挥了重要作用.新的社会阶层中的广大人员也是有中国特色社会主义事业的建设者,应该把他们中的优秀分子吸收入党.吸收新社会阶层中的优秀分子入党,有利于保持党的先进性,有利于增强党的阶级基础,扩大党的群众基础,提高党的社会影响力,巩固党的执政地位.吸收新的社会阶层中优秀分子入党,是时代发展的必然要求,它代表了先进生产力发展的方向,是党保持先进性的根本保证.     

抓死嫖客：一个女孩的维权之举

2011年3月28日，清溪镇不少人为一个女孩送行。地道的湖北特产整整塞了一麻袋。带着伤心和眷念。女孩三步一回头地走了。她难以忘记清溪镇，这里给过她爱。也给过她恨；她在这里懂得了人生。学会了自尊和坚强。     

工人阶级的先进性是一个与时俱进的历史过程

江泽民总书记在“七一”讲话中,全面深刻地阐述了党的先进性、阶级性和群众性的关系。认真学习这些论述,使我们深刻领会到,党的先进性决定并要求她的阶级基础——工人阶级必须具有先进性,而工人阶级的先进性又为党始终保持先进性提供了坚实的阶级基础。工会是党领导下的工人阶级的群众性组织,着眼于工人阶级的先进性开展工会工作,更好地贯彻党的全心全意依靠工人阶级的方针,全面推进工人阶级的知识化进程,抓好职工整体素质的提高,是工会工作的第一要务。一、工人阶级是先进生产力的代表决定了工人阶工人阶级是先进生产力的代表决定…     

那个女生叫舒淇

1我第一次看见她是在大学的学生会里。她不知向谁介绍自己:“我叫舒淇,舒展的舒,冰淇凌的淇,不是港台的那个舒琪。”她的声音一如檐前一阵恍惚的风铃。我扭过头去,这声音和电影里舒琪甜哑的声音截然不同,但竟似也有万般风情。当我侧过脸看她的时候,她正好也转过头来。你别以为接下来是宝哥哥与林妹妹式的一见倾心——吾乃一小女子是也。虽然有同性相斥的古训,我承认她生得很美.和舒琪截然相反的美法,一头栗色的短发矫媚的伏在耳朵背后,脸上描着     

按摩师回乡遭偏见，顽强撑起的那片天空格外美丽

这是一个柔弱的女子，她又是一个刚强的女子；就因为她曾经南下广州打工做过按摩师，她的命运就因此多了坎坷和辛酸；也因为她曾经是按摩师，她用学到的按摩保健技术顽强地开店创业，支撑起自己的一片美丽的天空……     

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.