Challenges of operationalizing trauma‐informed practice in child protection services in New Zealand

New Zealand is undergoing major change in service delivery to children and families. A new Ministry for Children Oranga Tamariki has been established to oversee 5 work streams, one of which provides intensive intervention with families requiring a statutory response to child protection concerns. The government minister responsible promised that the service would be child‐centred and trauma‐informed. To date, these terms remain undefined, and there is no shared understanding of their meaning. Practice frameworks to support the work of the new ministry are still being developed, creating something of a vacuum in the meantime. The focus of this paper is the challenge of implementing trauma‐informed practice in the child protection service provided by the Intensive Intervention work stream. Limited research or commentary on trauma‐informed practice in this context currently exists. Drawing on the relevant available literature, the concept and its application in child protection social work is explored. An ecological framework is used to discuss the changes needed to achieve this. Particular attention is paid to the impact of historical trauma for indigenous people due to New Zealand's colonial history and their over‐representation in care and protection services.     

制度风险的法律维度: 突破非物质文化遗产保护的瓶颈

以风险理论审视非物质文化遗产的现行法律制度,根据风险产生根源不同,非物质文化遗产保护的制度风险会表现为制度运转失灵风险、制度功能偏差风险和公平性缺失风险。化解制度风险,形成制度风险的维度,不可基于同一个标准,而是需要在大的框架之下论及制度风险的法律管控,需要有针对性地创构"建立私权,善用公权"的多元法律控制体系,并在体系内引入技术规制,创设"非物质文化遗产权",推动民间习惯法与法律制度、公法与私法的互动式发展。     

章公祖师佛像跨国追索诉讼国际私法问题研究

从章公祖师佛像跨国追索诉讼主体资格问题切入,分析佛像的法律性质,探讨涉案物权准据法的确定及适用问题。该案原告应由阳春村全体村民担任。涉案佛像属于文物,建议村民在荷兰法院提起原物返还之诉。受案法院应当适用物权冲突法确定准据法,即可能适用中国内地、中国香港或荷兰法律。被告在购买时应当对涉案佛像来源产生合理怀疑,因此不构成“善意”;原告应尽可能搜集证据证明《荷兰民法典》规定的20年消灭时效因起诉而中断。依据《香港货品售卖条例》和中国内地物权法理论与实践,被告均不能取得系争佛像的所有权。     

Generational conflict and provisions for the elderly in Hong Kong: The relevance of position‐based interest and values

Respect for the elderly and hence the associated rights support a generational contract. Nevertheless, the case of the recent debate on the universal retirement scheme in Hong Kong has raised concerns about its strength. We identify relevant items from the sixth wave of the World Values Survey to explore the orientations of different generations toward others. The analysis shows differences between younger and older generations. Regression analyses show that values are not significant in explaining the differences, but various positions, including sex, marital status, and education, and perceptions of the elderly are relevant. Such differences across generations might weaken the generational contract and potentially engender conflicts as shown in the recent debate about the retirement scheme. We suggest short‐ and long‐term interest calculations, informed by their positions, play a more significant role in policy discussions and decisions, rather than simply appealing to values.     

数字媒介视域下的文化记忆研究

文化记忆媒介经历多次嬗变,从口述媒介、书写媒介、印刷媒介到当下的数字媒介。媒介嬗变为文化记忆当下化提供了基本的结构框架,尤其是数字媒介,对文化记忆的储存、传播和表现产生了诸多新影响。首先,它极大地提升了文化记忆的储存能力,也产生了“数字黑暗时代”问题;其次,它有利于传播个体关于文化记忆的观点和评价,放大了各群体间关于文化记忆的认知差异,改变了文化记忆的水平传播和垂直传播;最后,它为文化记忆的表现带来了非线性叙事,产生了超文本和超作者,并为文化记忆文本提供了互文性链接,提高了多叙事主体间互动频率。不仅如此,数字媒介的影响还延展至文化记忆的代际延续和集体认同领域。     

金沙遗址出土文物太阳神鸟黄金面具青铜立人的藏文化解读

从藏族古代文化的视角来看，金器太阳神鸟图似乎与斯巴嘎巴和迥瓦风轮的观念有关，斯巴嘎巴和迥瓦风轮观涉及藏族本教的空间时间观和宇宙本体观。斯巴嘎巴是藏语的汉语对音，指空间和时间。迥瓦是藏语的汉语对音，指风火水土四元素。风轮是藏语的汉语意思表达，指“风”为元初原动力的宇宙形成观。在藏语言里，黄金面具实为金面。古藏人非常重视头发及其发型，即便是对死者补妆也是如此，在为死者补妆时，发辫被排在了补妆12点数的首选位置，且头发与绿松石相对应。     

京津冀文化消费的影响因素与结构特征

在京津冀协同发展战略中,文化创意产业在取得初步发展成果的同时,还依旧面临着不少亟待解决的问题。采用问卷调查法实地走访采集区域居民文化消费数据,并进一步通过决策树算法进行数据挖掘,发现京津冀文化消费的影响因素及结构特征,据此提出打造区域共同文化品牌、保障居民收入持续平稳增长、针对青少年文化消费市场创新营销模式、培养其正确的文化价值观及文化创新能力等改进措施,从而优化推动京津冀文化消费市场协同发展的路径,打造互联互通、开放统一的区域文化消费市场,使区域居民文化消费需求成为促进文化产品供给的市场新动力。     

Challenges and dilemmas working with high‐conflict families in child protection casework

Social workers within child protection services report that families marked by high levels of conflict between separated parents are among the most challenging cases to handle. Few studies however have focussed on how social workers themselves experience and meet with parents involved in hostile martial interactions. This article reports on a qualitative study involving 31 social workers and provides an analysis of their experiences and dilemmas in working with such families. Findings demonstrate that social workers struggle to find ways to help high‐conflict families and often find themselves at an impasse. Parents involved in such conflict are highly resistant to change, and social workers struggle to engage with them over concerns about their children. Furthermore, findings suggest that social workers lack organizationally allotted time to assist the parents. I conclude by discussing ways in which emotional support, empowering interventions, and strength‐based approaches enable social workers to manage relationships with high‐conflict families. More research on this topic is needed to support and promote better practices for social workers to be more effective in assisting high‐conflict families.     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

Resolving complex community problems: Applying collective leadership and Kotter's change model to wicked problems within social system networks

How does collective leadership within social networks resolve chronic and complex problems common to communities? Unfortunately, sometimes it does not, but when it does, the outcome may be truly extraordinary. We use a case study approach to explain how one Midwest community within the USA applied collective leadership within a community network to reduce teen births. It took ten years of what many identified as provocative media campaigns and comprehensive sex education programs to reduce teen births by 65%, significantly exceeding the stated goal. Using Kotter's change model as a backdrop, powerful strategies and provocative creativity reveal courageous leadership within a social network of diverse people and organizations focused on improving the social well being of their community.