叙事伦理张力与审美感知及评价问题——作为方法的张爱玲

叙事伦理是由人类叙事本能产生的复杂而又无处不在的问题.叙事伦理既涉及到审美感受,又涉及到审美评价.由于其复杂且不纯粹的文本现象,以叙事伦理张力来比喻便于使审美感受具象化,同时为审美评价提供一个标准.张爱玲的小说复杂而又特殊,可以将其作为方法,根据叙事性作品的伦理交流结构理论,分析和解读张爱玲的小说,从而探究叙事伦理与审美感知及评价问题.     

论当代公安歌曲的嬗变

公安歌曲是以人民警察的工作、生活、心理等领域为题材内容的歌曲。公安歌曲起源于新中国成立之际的公安边防歌曲,在新时期大众文化的影响下发展为影视公安歌曲,20世纪80年代中后期以来公安系统春节晚会和文艺汇演促成了公安歌曲高潮的到来。     

美国联邦政府公务员绩效管理的原点——谈美国联邦政府公务员的绩效计划

从现代人力资源管理的角度来看,绩效管理的核心是绩效评价,但是,没有绩效计划的绩效评价将成为空中楼阁,因此,绩效计划在整个绩效管理中起着举足轻重的作用。美国联邦政府公务员绩效管理实践以绩效计划为先导,完善了公务员的绩效管理体系,为后期的绩效评价奠定了良好的基础。     

领导干部品德评价和考核实践操作——基于高校处级干部的样本分析

"德才兼备、以德为先"是我们党一贯坚持的选人用人标准。不同地区、部门、层次干部德的考核必然不同。针对当前高校处级干部考德难和存在道德失范现象,结合高校处级干部的岗位职责及德的现状特点,建立有效的考德机制是对干部品德测评的有益探索。一要科学设置高校处级干部考德指标体系,包括43项正向评价评价标准和10项反向评价标准,科学设置各考核指标的分值;二要创新高校处级干部德的考核方法,通过专项评德、随机查德、校园问德、监督束德,实现常态化、动态化、立体化的考核;三要强化考德结果的运用,将考德结果作为提拔任用、奖优惩劣、培养教育、管理监督的重要依据。     

试论我国《合同法》对第三人利益合同的规定——对我国《合同法》第64条的解释

学界和司法实践中对我国《合同法》第64条的理解和适用存在着争议。否定说认为该条文没有对第三人利益合同做出规定,第三人不享有直接请求权;宽泛肯定说认为《合同法》第64条规定了"第三人利益合同"以及"债务人依照约定而为交付"两种情况;不足肯定说认为该条文实际上规定了第三人利益合同,第三人可依据该条的规定享有履行请求权,只是该规定尚不明确,在我国尚未形成第三人利益制度。经过比较分析,宽泛肯定说更具合理性和现实意义。     

思想政治教育的集体价值探析

思想政治教育集体价值是连接思想政治教育个体价值和社会价值的桥梁,是思想政治教育价值体系的重要组成部分。思想政治教育的集体价值集中体现在三个方面：（1）促成和巩固集体的团结;（2）建立积极向上的集体文化;（3）形成健康向上的集体心理。     

公安院校社会实践实效性评价存在的问题与对策

科学、合理的评价是提高公安院校大学生社会实践实效性的重要手段。针对公安院校大学生社会实践评价的现状,分析存在的原因,为提高公安院校大学生社会实践的实效性提出评价对策。     

司法诚信的评价维度——以刑事诉讼为视角的讨论

本文以刑事诉讼为视角,提出判断现今刑事诉讼中的司法诚信状况的关键在于评价维度的确立,并从合法性、公正性、合理性、廉洁性和勤勉性五个方面论证了司法诚信的评价维度。     

Disrupting the South African parliament: performing opposition 1994–2010

The article focuses on the most common form of institutionally punished disruption seen in South Africa's National Assembly since 1994: orders for individual MPs to withdraw from the chamber. The shifting dynamics of such “set-piece” dramatizations of opposition and their relationship with the established analyses of political opposition in post-apartheid South Africa, especially “dominant party democracy” theory are explored. There have been two main styles of disruptive performance in the National Assembly since 1994. Firstly, performances of perceived political marginalization, and secondly, performances that paradoxically lay claim to uphold parliamentary democracy through rule-breaking, which are termed performances of procedure-as-democracy. The article examines how opposition politicians have justified disruption and unpicks the symbolism of prominent incidents. The focus is upon the performance of disruption and its performative aspects, particular the articulation of race and gender. It is argued that performances of procedure-as-democracy are actually one of the principal means by which opposition political parties perform narratives of ANC dominance and as such require much more attention and critical engagement from political scholars interested in dominant party democracy.     

Arts Marketing Performance: An Artistic-Mission-Led Approach to Evaluation

Marketing in the arts sector has evolved during the past decades from a functional tool to a business philosophy. At the same time, a relational view of art as experience has emerged in contemporary arts philosophy, highlighting the role of arts consumers in the creation and reception of arts. As a consequence, arts consumers have gained a central position within the artistic mission of arts organizations, posing new challenges to the role of arts marketing both as a practice and as an academic discipline. Against this background, financial figures and audience numbers are insufficient indicators of the contribution that arts marketing makes to the functioning of arts organizations. This article suggests evaluating the performance of arts marketing based on the contribution made to the achievement of the arts organization's artistic mission and proposes a model based on Kaplan and Norton's Balanced Scorecard to guide the artistic-mission-led evaluation of arts marketing performance. By paying attention to the new strategic role of arts marketing within the emerging relational view of the arts and by integrating recent literature on performance management in nonprofit organizations, we make a theoretical contribution to the body of knowledge on arts marketing performance evaluation.