Mixed electoral rules’ impact on party systems

The growing literature about mixed electoral systems has addressed their effect on party systems, voting behavior, campaign strategies, legislative roll-call voting, and other issues in a handful of countries. But, the effect of mixed systems has not been fully evaluated cross-nationally or longitudinally. Using data from the World Bank’s Database of Political Institutions, we address this gap in the literature by investigating two related questions. First, do mixed electoral rules produce different election outcomes than other election rules? Second, are these results attenuated by the definitions of mixed systems that scholars employ? We find that mixed systems generate outcomes that are distinct from other electoral systems and that these findings are generally robust across different definitions.     

论警察院校反恐训练

云南省作为一个多民族,多宗教的中国边疆省份,跨境民族问题、宗教问题和毒品犯罪在全国具有典型性和代表性。当前,境内外敌对势力的渗透破坏活动加剧,反恐斗争形势严峻。随着东盟自由贸易区经济合作的发展,云南省反恐力量的加强势在必行。云南警官学院应在办学、培训等有关人才素质培养等方面与时俱进,加强反恐对策的研究和训练,提高培养反恐力量的素质和水平     

构建中国的就业保障体系

本文提出,依据失业保障自身特点、保障目的、制度演变规律、现实状况和未来挑战等多因素,中国失业保障体系未来发展的目标是建立就业保障体系.从如何保障就业的角度出发,设想未来的就业保障体系由就业预备、就业预告和就业保险三部分组成.就业保障体系的建立需要科学的规划和系统的过程,具体可分为突出就业导向、完善就业制度和整体协调运转三个阶段.     

试论公安院校增设“警察技能与指挥”专业的必要性

在新的世纪里 ,公安工作更加繁重和艰巨 ,对人民警察的素质和能力要求也更高 ;公安院校作为培养后备警察力量的重要基地 ,培养具有“警察技能与指挥”的专业人才是形势所迫。因此 ,在公安院校增设“警察技能与指挥”专业 ,对于公安院校专业的设置及学科和专业建设 ,对于培养执行特种任务的指挥员和战斗员及适应各项公安工作岗位的高层次综合应用性人才 ,很有必要。     

Art,Cold War Diplomacy and Commonwealth: Australian and Canadian Art at the Tate Gallery 1962–1964

This article analyses the formation, presentation and reception of two seminal exhibitions: Australian Painting: Colonial, Impressionist, Contemporary (1962–1963) and Canadian Painting 1939–1963 (1964). The presentation of these exhibitions at London’s Tate Gallery reflected the institution’s support for “old dominion” Commonwealth members. The exhibitions also highlight the differing visions of the Canadian and Australian governments concerning the relationship between art, diplomacy and politics during the Cold War. In Canada, Vincent Massey (Governor General 1952–1959) played a key role in ensuring that all forms of Canadian art were promoted internationally. Massey wanted to connect with the European and American avant-garde and to be part of a multiracial Commonwealth. This contrasted with the rather “old-fashioned” views of the Australian prime minister, Robert Menzies, and the Commonwealth Art Advisory Board. They supported a Commonwealth dominated by the “white dominions” and the initial exhibition plan for Australian Painting recalled previous British Empire art shows. The British response to the Canadian and Australian exhibitions is also discussed. British critics preferred the nationally identifiable “exotic” art found in Australian art to the transnational forms of international abstraction in Canadian art. Eventually, Australia “caught up” with Canadian cultural policy following the establishment of the Australia Council.     

Hearing the voice of Donbas: art and literature as forms of cultural protest during war

This paper analyzes literary, visual, and street art works of writers and artists from Eastern Ukraine produced during 2014. Two Donetsk artists, Serhii Zakharov and Anzhela Dzherikh, and two Luhansk writers, Serhii Zhadan and Olena Stepova, play with the myth of the proletarian Donbas, on the one hand, and debunk the popular perception of Donbas people as being in consent with the politics of the self-proclaimed Donetsk and Luhansk People’s Republics, on the other. They explore familiar tropes and images of Donbas and use guerrilla tactics (shock effects, provocativeness, and deception) to initiate public reaction to the war. Their works are united by their search for a shared communication space and direct access to the audience on occupied territories. These artists challenge the accepted perception of Donbas as a free but uncivilized space and participate in the creation of a new Donbas text. The interaction between politics, art, and activism makes their voices and vision powerful and infectious and can help achieve civic consolidation in Donbas.     

国际制度设计视角下的澜湄合作

为什么在湄公河流域已经存在数十个国际合作机制的情况下,还要建立澜湄合作(LMC)这一新型次区域合作机制?既有研究大多强调湄公河流域大国国际制度主导权竞争的宏观背景因素,而较少关注澜湄合作机制的新制度特征及其形成原因,即澜湄新型次区域合作机制究竟"新在何处"。与大湄公河次区域经济合作机制(GMS)等既有国际机制相比,澜湄合作机制具有两大新的制度特征:一是议题范围更加广泛,除了传统的区域经济合作议题外,还增加了区域安全合作以及水资源合作等新议题;二是集中程度更高,与之前合作机制主要由"职能部门引领"以及"借用"亚洲开发银行作为国际秘书处的做法不同,澜湄合作机制采取了"领导人引领、各部门参与"的机制运行模式,并逐步建立独立的国际秘书处。通过运用国际制度理性设计的理论模型,本文考察了在湄公河流域国际合作中上游国家与下游国家之间所面临的日益严峻的分配问题和执行问题,并以此解释了澜湄合作新制度特征的形成原因。     

Bridging the gap: online materials to equip graduate entrants to a law degree with essential subject knowledge and skills

Graduate entrants to law degrees can be disadvantaged by being exempted from Level 4 modules. Many lack the law-specific knowledge and skills that they would have gained from their first-year studies, making it more difficult for them to achieve mastery of higher-level modules. This poses risks to their retention and progression. The Open University Law School sought to bridge this gap by providing optional online “catch-up” materials, including 12 sessions of knowledge-based learning. Each session was followed by a brief Moodle poll so that we could ascertain that session’s fitness for purpose, and which students had studied it. The sessions were highly rated by respondents, and most had been studied in the target time of around 15 minutes. Studying the sessions was statistically associated with academic success. This finding does not prove that the sessions contribute towards student's attaining higher grades, but it is encouraging. Only a small percentage of students studied any sessions, and most of those did not study all of them. Since the sessions met their intended purpose for those who studied them, the Law School has now decided on a range of initiatives designed to increase the number of LLB students who study most of them.     

艺术设计协同育人平台的建设与实践:以广东省外语艺术职业学院为例

针对广东省高职教育发展战略和珠三角文化创意产业需求,广东省外语艺术职业学院围绕提高创新能力这一核心目标,在艺术设计专业群进行试点,创建了艺术设计协同育人平台,经过探索与实践,提出了协同育人平台建设的路径与策略。     

Authorship,Authenticity, and Intellectual Property in Australian Aboriginal Art

This article analyzes research and legal cases about authorship, authenticity, and intellectual property in Aboriginal art. The concepts of Aboriginality, authenticity, and ownership are used to show the complexities of Aboriginal law, legal copyright, and the moral rights framework. The clan ownership of Dreaming makes Aboriginal artists' relationship different to other artists' individual ownership of their work. Research on this topic by members of the Faculty of Business and Law unit of the Centre for Leisure Management Research at Deakin University was undertaken for the Australian Institute of Aboriginal and Torres Strait Islander Studies. This article provides significant contextual analyses of major issues leading to Commonwealth Government inquiries and legislation in Australia during 2006-8.