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The exposition which I have just given of the origin of the surplus-value is sufficient for this work. It is not necessary for our subject to stop to consider the fact that a part of the surplus-value is destined to become capital, while the other part is consumed by those who have appropriated the whole. As has been shown above, the employment of machines, etc., has increased in every branch of industry, and this has brought it about that the capital necessary to any manufacturing establishment increases continually under the pressure of competition. Hence it follows that capitalism itself forces the capitalist to invest as new capital part of the surplus-value acquired by him. But aside from this, it is capitalism also that produces the capitalist’s penchant for always investing more capital, which, in its turn, produces a greater surplus-value than the original capital, etc. And since the accumulation of capital has no limits, the greediness of the capitalist has none, and he is driven to increase his capital incessantly, even when his income is so great that it permits him to satisfy every possible need. The aim of the capitalist is to procure for himself as large a surplus-value as possible. He can attain his end at once by forcing the laborer to work as long a time as it is possible for him to work. From this springs the irreconcilable conflict between the interests of the proletariat and those of capital, the combat over the length of the working-day. The day has its natural limits (it is necessary that certain hours be left to the workman for food and rest), its legal limits (decreed too late by the state, driven on one side by the workers themselves, and on the other by the plain certainty that without this protection the working class would become enfeebled), and finally its limits fixed by the pressure of the labor unions. Friedrichs D (1996) Trusted criminals: white collar crime in contemporary society. Wadsworth, New York

Det kan være et svært valg, når man skal have ny bong, fordi der er jo mange ting man bør have med i sine overvejelser, såsom hvilken størrelse bongen skal have, hvilket materiale den skal være lavet af, hvilken udformning den skal have, hvilket bongudstyr kan anvendes med bongen osv. The second reason why a large number of workmen were obtainable was that the lords themselves began to produce commodities for city markets, especially wool and wood. This took fewer laborers than agriculture, but required more land, so that many peasants were driven from their farms and, like the others, went to swell the population of the cities. Following her death, her son Vincent Willem van Gogh inherited the collection of some 200 paintings, many drawings, and the Van Gogh brothers' letters, and the voluminous documentation of Jo's business dealings. The inventory of her estate shows that in addition to Van Gogh's paintings and letters, she also had works by her late second husband, Johan Cohen Gosschalk. Her strategy of retaining his best works and controlled selling of others meant that a significant collection remained in family hands. Her son and grandson continued her work to shore up the legacy of his uncle Vincent and father Theo, resulting in the Dutch government's construction of the Van Gogh Museum in Amsterdam.After Vincent's death, Theo organized an exhibition of his brother's paintings in their Montmartre apartment in Paris. Theo's health collapsed after Vincent's death, which was attributed at the time to his profound grief. Jo attempted to have Theo moved to the Netherlands for treatment, but exigent circumstances made that impossible. She did persuade a Dutch physician, Frederik van Eeden, to come to Paris to attempt treatment using hypnosis. While there Van Eeden viewed Vincent's paintings in Jo and Theo's apartment and wrote glowingly about them. In return, Jo gifted him a version of The Sower, which he showed to friends and wrote about. "Jo had successfully planted the first Van Gogh seed in the Netherlands". [11] With her husband's death six months after Vincent's, Van Gogh-Bonger was determined to carry on her husband's efforts to establish Vincent's importance as an artist, but she also worked to demonstrate her husband's crucial role in supporting Vincent's life as an artist. A case holding photographs of Jo Bonger and Theo van Gogh (1889) Credit: Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

It is ... the quantity of work socially necessary, or the time socially necessary for the production of a commodity, which determines its value.” [ Kapital, I, p. 6. It is plain that in this exposition it is needless to add why this law is discarded under a developed system of capitalism. The exception in no way diminishes the fundamental truth of the proposition.] To become a commodity anything must provide for some need of man ; it must have the value of usefulness. Without this value a product can never be a commodity. However, it is impossible that the quality which different commodities have in common, and on the basis of which they are compared, should be their usefulness, that is to say, their natural qualities. For it is just because of their difference in usefulness (to their possessors) that goods are exchanged. Marta Molnar, The Secret Life of Sunflowers: A gripping, inspiring novel based on the true story of Johanna Bonger, Vincent van Gogh's sister-in-law. ISBN 978-1940627496 Currie E (2004) The road to whatever: middle class culture and the crisis of adolescence. Metropolitan Books, New York For at undgå, at bongen bliver beskidt, er det vigtigt at rengøre den regelmæssigt. Skyl den med varmt vand og sæbe eller brug et specialiseret rengøringsmiddel til bong. Skift også vandet i beholderen regelmæssigt og fjern eventuelle urenheder eller rester af urter efter hver brug 4. Er det farligt at bruge en bong?The legacy and renown of Vincent van Gogh the long-suffering artist began to spread in the years after his death, first in the Netherlands, and Germany and then throughout Europe. His deep connection with his younger brother Theo was documented in numerous letters they exchanged from August 1872 onwards. Van Gogh-Bonger published the letters in three volumes in 1914. She initially worked closely with German art dealers and publishers Paul Cassirer and his cousin Bruno to organize exhibitions of Van Gogh's paintings in Berlin and in 1914 to publish the first volume of the Letters to Theo. Publication of the letters helped spread the compelling mystique of Vincent van Gogh, the intense and dedicated painter who suffered for his art and died young. Jo større lungekapacitet du har, jo større bong burde du vælge - både ift. højde, men også ift. bongens udformning, hvor især kugle (bouncer) og kolbe (beaker) bonger typisk har den største kapacitet. Hvis du ønsker et overblik over de forskellige bongtyper/-udforminger, så kan du se mere i denne blog-artikel >>>. Vi anbefaler at en garvet bongryger vælger en bong med en højde på min. 40 cm. Omvendt gælder det, at hvis du ikke tidligere har den store erfaring med bongrygning. så bør du vælge en bong under 40 cm. Det skal dog understreges, at en lille bong ikke nødvendigvis er den mildeste løsning, da røgen vil have længere tid til at nedkøle i en stor bong. Det er derfor vigtigt, at man tilpasser mængden af mix i sit hoved efter størrelsen på bongen, så man ryger mindre hoveder på små bonger, hvis man gerne vil undgå at det bliver for stærkt. Rothe DL, Mullins CW, Sandstrom K (2009) The Rwandan Genocide: international finance policies and human rights. Soc Justice 35(3):66–86 Kramer RC, Michalowski RJ (1991) State-corporate crime: case studies in organizational deviance. Unpublished manuscript