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Kramer RC (1992) The space shuttle challenger explosion: a case study of state-corporate crime. In: Schlegel K, Weisburd D (eds) White collar crime reconsidered. Northeastern University Press, Boston, pp 214–243 Paul Gauguin’s Sunflowers on an Armchair (1901); and the receipt for seeds for Gauguin, from the Vilmorin-Andrieux company, 21 July 1903 Gauguin: Courtesy of the State Hermitage Museum, St. Petersburg, Russia 9. Theo’s widow Jo Bonger fell in love with the artist Isaac Israëls—and later lent him her Sunflowers

Mrs Van Gogh is a charming little woman, but it irritates me when someone gushes fanatically on a subject she knows nothing about, and although blinded by sentimentality still thinks she is adopting a strictly critical attitude. It is schoolgirlish twaddle, nothing more. [...] The work that Mrs Van Gogh would like best is the one that was the most bombastic and sentimental, the one that made her shed the most tears; she forgets that her sorrow is turning Vincent into a god." [16]

BONGER, Hein

Michalowski RJ (2008) Power, crime and criminology in the new imperial age. Crime Law Soc Change 51:303–325 Kramer R (2010) Resisting the bombing of civilians: challenges from a public criminology of state crime. Soc Justice 36(3):78–97 Let us suppose now that the process of production has a normal course, that is to say, that it comes out as the capitalist wishes. He has begun with a sum, A, and ends by possessing A + a. We must now explain this surplus a, which, in the terminology of capitalistic production, is called surplus-value. The surplus obtained from the labor of slaves is easily explained. The owner leaves the slaves a part of the product of their own labor to live on. The rest is his. His surplus springs from the labor of others. The relation of the serf and his lord is, if possible, even clearer. The serf works part of the week for himself and on the remaining days for his master. The explanation of the surplus produced by capital employed at usury or in primitive commerce (the most ancient forms under which capital was employed) no longer offer any great difficulties. The usurer appropriated to himself the possessions of the borrower little by little and so ruined him completely. The primitive merchant made himself a surplus by selling dear something that he had bought at a trivial price, a transaction which involved no increase in value. Now it is just this increase in value that is to be explained upon the basis of the law that things of equal value are exchanged, and not, as in the cases cited above, upon the exceptions to the law. Van Gogh’s Sunflowers: the original (August 1888), owned by the National Gallery, and the later version (January 1889), which is in the Van Gogh Museum Credits: National Gallery, London; and Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) Det er muligt at lave en simpel bong derhjemme ved hjælp af nogle få materialer. Her kan du lære hvordan du laver din egen flaskebong (også kaldet fængselsbong), hvis du f.eks. skulle have været så uheldig at smadre din eneste glasbong.

Rothe DL, Mullins CW (2008) Genocide, war crimes and crimes against humanity in Central Africa: a criminological exploration. In: Haveman R, Smeulers A (eds) Supranational criminology: towards a criminology of international crimes. Intersentia, Antwerp, pp 135–158 We have still to take up the question of the introduction of machinery and of manufacturing on a large scale. Although at the period of the early manufactories the workman was obliged to perform a monotonous task, which in so far may be called “mechanical,” yet this task was performed, though with the aid of tools, by his own hands. But in the eighteenth century the machine was invented, that is to say, a mechanism which took the place both of the workman and of his tools. Machines were introduced because they saved hand-work, and consequently lowered the price of the product and relatively increased the surplus-value. As Luijten points out, it remains “puzzling and inexplicable, however, why he [Bonger’s son Vincent] made absolutely no mention of his mother’s name in his speech at the museum’s opening”—considering all that she had done for her brother-in-law. Family dynamics can remain obscure, even to biographers. It is clear that through the introduction of manufactory methods the productivity of labor has been enormously increased, so that the time necessary for the production of the necessaries of life for the workmen has become shorter, and the surplus-value correspondingly augmented. The part taken by the workman in the process of production is quite different from what it was in the time of the guilds. The different operations that he performed in making the complete product are now replaced by the monotonous and repeated production of a single one of the parts. From this point dates the division of workmen into skilled and unskilled laborers. The latter are those whose work is such as to require little or no apprenticeship, and they are the cause of a new lowering of the price of labor. For certain reasons it was possible for the needs of the capitalists to be satisfied. On account of the development of the market in the cities the demand for food, and for raw materials of every kind, such as wood, wool, etc., increased, and agricultural production for the purpose of sale increased, so that the peasants began to have money. This latter fact complicated the relation between them and the feudal lords. So long as the rent was paid in kind the lord demanded only as much as he could consume; but from the day that the rent began to be paid in money the landowner began to press the peasant more and more, since money can always be used, and no one ever has enough. From this fact arose so severe an exploitation that many peasants left the country to take refuge in the towns.

Truyện

This sketch is based upon Karl Marx’s Kapital and K. Kautsky’s works primarily, with some indebtedness to Marx’s Oekonomischen Lehren and Das Erfurter Programm. 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 At the age of 22 she became a teacher of English at a boarding school for girls at Elburg, later teaching at the High School for Girls at Utrecht. About this time while in Amsterdam she was introduced by her brother Andries to Theo van Gogh, brother of Vincent. One of the Van Gogh sisters described her as "smart and tender". What is now the course of the production of the surplus-value? The capitalist has fitted up a factory, has procured tools and raw material, has hired labor, and the process of production commences. Suppose that the necessaries of life for the workman and his family may be produced by six hours of work socially necessary; by making him work, then, six hours the capitalist will have a product equal to that of the raw material used, increased by that which is given it by the tools and by the labor which the workman has put upon it. This value, however, has been entirely paid out by the capitalist; he has no surplus left; the transaction has failed. But ordinarily the process succeeds in procuring profits for the capitalist, since in the contract between him and the laborer it is not stipulated that the latter shall work only the number of hours necessary to produce enough for his own needs. On the contrary the workman is compelled to labor as long as his strength will permit. The value produced by the workman after the time necessary for the production of the equivalent of his needs falls to the capitalist, and this it is which constitutes the surplus-value, the value derived from work not paid for. 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.

Theo died six months after his older brother Vincent's death, leaving Andries's sister Jo holding the letters of Vincent to Theo and in control of Vincent's artwork. Andries believed that his younger sister should not have sole say about what became of these remnants of her marriage and attempted to exert his influence over her. She resisted and the close of the siblings were at odds. Andries managed the sales of some of Vincent's artwork whose sale Jo authorized.Andries Bonger (20 May 1861 – 20 January 1936) was a Dutch art collector, as well as Johanna van Gogh-Bonger's brother and Theo van Gogh's friend, who later became his brother-in-law. Before entering upon the consideration of some of the methods for shortening the necessary hours of labor, attention must be fixed upon the fact that, aside from this method, the capitalist tries above all to lower the price of labor below its value, while the workers, for their part, oppose this tendency and try to obtain the contrary ; whence there results a new cause for an inexorable struggle between labor and capital, side by side with that over the length of the working-day. Photographs of Jo Bonger with her son Vincent, 1892 (left); and with her grandsons Theo and Johan on her lap, 1922 (right) Credit: Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) Johanna van Gogh-Bonger: Unseen Champion of Vincent van Gogh Princeton University news accessed 14 October 2022 Bonger saw the Van Gogh brothers through the eyes of her favourite writer, George Eliot. “In their death they were not divided” was a Biblical phrase taken up in Eliot’s The Mill on the Floss. This is how she wanted Theo and Vincent to be remembered.