Journal articles on the topic 'Krug (Firm)'

Purpose The purpose of this paper is to provide an understanding of the importance of socioemotional wealth (SEW) to family firms in Poland viewed through the lens of the events surrounding the first hostile takeover bid of the post-communist era on the Warsaw Stock Exchange when the clothing company Vistula & Wólczanka (V&W) made an unsolicited, leveraged bid for the family-controlled jewelry company W. Kruk. Design/methodology/approach The 2008 takeover and its aftermath are described in the context of the corporate governance and legal environment in Poland. The case study events demonstrate the connection between firm behavior and SEW theory. Findings After the acquisition of W. Kruk by V&W, the Kruk family purchased stock in the newly named Vistula Group and gained influence over the supervisory board in concert with a business ally, eventually wresting back control of the company in the style of a Pac-Man “defense.” The case study illustrates the importance of SEW in family firm takeovers. Research limitations/implications The case study design has limitations for generalizability. Nevertheless the research highlights the important role of SEW preservation in understanding the market for corporate control of listed family firms in Poland. Practical implications Understanding the reaction by family firms to takeover bids requires recognition that there is a tradeoff between financial and SEW considerations, not just financial gains and losses. Originality/value The case study demonstrates the importance of SEW to family firms and suggests that the balance of power in takeovers on the Polish stock market rests with incumbent management.

Danmark er et krigsførende land. Det er dog forholdsvist let at overse. Her er hverken rationeringsmærker, mørklægningsgardiner eller grandiøse støtteerklæringer til rigets forsvar. Alligevel bliver det i disse år langsomt tydeligere, at krigens virkelighed presser sig på. Fra dokumentarfilmen Armadillo over diskussioner om veteranpolitik, tortur og ikke mindst med Danmarks militære indsatser i verdens brændpunkter, bliver krigen med små skridt præsent. SLAGMARK har derfor sat sig for at undersøge krigen. I tre skridt gør dette nummers artikler os klogere på problemstillingen. Først trænes vores blik i at spore krigen i vores dagligdag. Dette sker gennem et opmærksomt essayistisk blik på krigen i den danske hverdag og en antropologisk analyse af vores nyligt indførte hjemkomstparader. Derefter undersøger vi idéhistorisk, hvordan en ung Hugo Grotius argumenterede for, at et handelskompagni kunne føre retfærdig krig og dermed skrev det private firma ind som en legitim aktør, der også kunne føre krig. Og i samme tråd viser den historiske sociologi os, med hjælp fra Niklas Luhmann og Carl von Clausewitz, at det ikke burde overraske nogen, at krigsførende lande ofte ender med slunkne statskasser, som f.eks. USA aktuelt lider under. Til sidst kigger vi nærmere på samtidens krige. Martin Heidegger bruges til at reflektere over dronepiloterne, som fra Nevada udfører angreb i Afghanistans bjerge, ligesom vi også bliver klogere på en af vores erklærede fjenders udvikling og påståede død, nemlig organisationen al-Qaida. Sidst, men ikke mindst, underkastes forsvaret af tortur med henvisning til den tikkende bombe en skarp analyse og kritik.

In the ninth poem of the cycle “land van genade en verdriet” (“country of grace and sorrow”) in the collection “Kleur kom nooit alleen nie” (“Colour never comes on its own”), Antjie Krog contends that the old is “stinking along” ever so cheerfully/ robustly in the new South African dispensation. This could also hold true for the new democratic Poland. Krog and the Polish poet Adam Zagajewksi could, in fact, be described as “intimate strangers”, specifically with regard to the mirrored imagery of “country of my skull”/“skull of my country” present in their work. The notion of “intimate strangers” may be seen as pointing toward the feminine dimension of subjectivity, which could be elaborated along the lines of Bracha Ettinger’s concept of “matrixial borderlinking”. Ettinger has made a significant contribution to the field of psychoanalysis, building on Freud and Lacan. She investigates the subject’s relation to the m/Other, and the intimate matrixial sharing of “phantasm”, “jouissance” and trauma among several entities. Critical of the conventional “phallic” paradigm, Ettinger turns to the womb in exploring the “borderlinking” of the I and the non-I within the matrix (the psychic creative “borderspace”). With these considerations as point of departure, and with specific reference to the closing poem in Krog’s “Country of my skull” and Zagajewski’s “Fire” (both exploring “weaning” experiences in recent personal and public history), I intend to show how the public/political is connected to the personal/psychological, and vice versa, and how committed literary works like those of Krog and Zagajewski can be clarified further from a psychoanalytical perspective. The image of the skull in the texts under scrutiny is investigated with recourse to the Lacanian notion of the “cavity”, as adopted and adapted by Ettinger. True to the mirror experience as described within psychoanalysis, this exercise in mirroring Krog and Zagajewski has confirmed the ambiguous, eluding and illusory nature of identification and identity.

Med baggrund i de seneste års krigs- og terrorhandlinger – Afghanistan, Irak, den 11. september – reflekterer forfatteren over forholdet mellem krig, tilskuer, medier og forestillinger om virkeligheden. Forholdet mellem medier og virkelighed tenderer ifølge forfatteren mod at smelte sammen i en gennemmedieret kultur, hvor fremstillingsformer fra for eksempel film kan anvendes til at formidle faktiske begivenheder. Forfatterens blik på mediekulturen tager afsæt i flere aktuelle udgivelser fra postmodernis- mens centrale filosoffer, blandt andet Jean Baudrillard og Paul Virilio. Denne artikel er dermed samtidig en introduktion til deres refleksioner over terrorhandlingerne den 11. september og deres betydning i det moderne samfund.

Hugo Grotius wrote some of his earlier works—the De jure praedae and the Mare Liberum— on direct commission from the United Dutch East India Company (VOC) that sought to legitimize the attack on the Portuguese carrack Sta. Catarina and their continued (violent) expansion to the markets of Southeast-Asia. In the process, Grotius establishes the company as a distinct actor who can wage a just war in a state of nature, and as a subject of its home state. In this article, it is shown how Grotius thoughts on just war, sovereignty, natural law and property were developed while defending both the Dutch right to free trade and the right of United Netherland to wage a just war against their oppressor, the King of Spain and Portugal. But what was stated as the right of all to free trade and to the freedom of the seas also became a powerful argument for the continued violent commercial expansion of the Dutch and the Europeans.

Celem opracowania jest ukazanie problemów związanych z wykorzystaniem danych o pracujących do badań usług. Zagadnienie to zaprezentowano na przykładzie województwa śląskiego. Wnioski płynące z opracowania wskazują, że: ‒ poszczególne rodzaje danych o pracujących ‒ badania poprzez firmy, BEAL, czy pochodzące z systemu REGON ‒ wykazują znaczące różnice, ‒ brak pełnej kompletności danych o pracujących już na poziomie sekto-rów gospodarczych w ujęciu gmin, ‒ niezależnie od tego, na jakie dane zdecydujemy się w analizach, nie gwarantują one uzyskania poprawnych wyników. Dlatego wydaje się, iż konieczne jest, by GUS podjął działania zmierzające do poprawy „jakości” danych o pracujących, w tym szczególnie rozszerzył dane o pracujących w podmiotach zatrudniających do 9 osób. Pewnym rozwiązaniem (bez zwiększania obciążeń statystycznych pracodawców i kosztów GUS) byłoby powiązanie istniejących już baz gromadzących podobne dane o pracujących, a odnoszące się do ZUS-u, KRUS-u i Urzędów Skarbowych.

Katastrofa prezydenckiego samolotu z 10 kwietnia 2010 roku wywołała szereg reakcji artystycznych. W odpowiedzi na nią powstały m.in. zebrane w Antologii smoleńskiej. 96 wierszy utwory poetyckie oraz film Smoleńsk Antoniego Krauzego. Oba teksty kultury łączy wspólna wizja wydarzeń z 10 kwietnia, którą usiłują włączyć w krąg powszechnie obowiązującej i akceptowanej polskiej pamięci zbiorowej. Stanowią jednocześnie formę zapisu pamięci oraz narzędzie ją kształtujące, a efektem tych artystycznych projektów pamięciowych jest wytworzenie narracji, którą za Pawłem Sendyką nazwać można mitem smoleńskim. Zarówno język filmowy, jak i narzędzia literackie wykazują potencjał eksplanacyjny, pozwalający na usensownienie rozbitej przez tragedię smoleńską rzeczywistości. Niezwykłe, nacechowane symbolicznie i podatne na interpretacje okoliczności tragedii sprawiły, że w narracji na jej temat ścierają się odmienne typy pamięci. Film Krauzego oraz teksty poetów smoleńskich biorą aktywny udział w konstruowaniu i utrwalaniu wizji „zamachu smoleńskiego”, snutej przeciwko opowieści o „katastrofie smoleńskiej”. Aby tego dokonać, sięgają do tradycji romantycznej, wzorców martyrologicznych i religijnych. Przeszłość przetworzona przez pamięć zyskuje wymiar sakralny i staje się mitem osadzonym na znaturalizowanej kategorii „prawdy historycznej”. Przyjrzenie się filmowi Krauzego oraz wybranym wierszom z Antologii smoleńskiej... pozwala zarysować węzłowe punkty mitu smoleńskiego – określonej wizji katastrofy, czy raczej zamachu smoleńskiego, pretendującej do zajęcia pozycji dominującej w powszechnej pamięci zbiorowej.

Summary Coreflood experiments on gas condensate flow behavior were conducted for two North Sea gas condensate reservoirs. The objectives were to investigate the effects of rock and fluid characteristics on critical condensate saturation (CCS), gas and condensate relative permeabilities, hydrocarbon recovery and trapping by water injection, and incremental recovery by subsequent blowdown. Both CCS and relative permeability were sensitive to flow rate and interfacial tension. The results on gas relative permeability rate sensitivity suggest that gas productivity curtailed by condensate dropout can be somewhat restored by increasing production rate. High interfacial tension ultimately caused condensate relative permeability to decrease with increasing condensate saturation. Condensate immobile under gas injection could be recovered by water injection, but more immediate and efficient condensate recovery was observed when the condensate saturation prior to water injection exceeded the CCS. Subsequent blowdown recovered additional gas, but incremental condensate recovery was insignificant. Introduction Reservoirs bearing gas condensates are becoming more commonplace as developments are encountering greater depths, higher pressures, and higher temperatures. In the North Sea, gas condensate reservoirs comprise a significant portion of the total hydrocarbon reserves. Accuracy in engineering computations for gas condensate systems (e.g., estimating reserves, sizing surface facilities, and predicting productivity trends) depends upon a basic understanding of phase and flow behavior interrelationships. For example, gas productivity may be curtailed as condensate accumulates by pressure depletion below the dew point pressure (Pd). Conceptual modeling on gas condensate systems suggests that relative permeability (kr) curves govern the magnitude of gas productivity loss.1,2 Unfortunately, available gas and condensate relative permeability (krg and krc) results for gas condensates are primarily limited to synthetic systems. Such results show that higher CCS and less krg reduction were observed for a conventional gas/oil system compared to a gas condensate system.3,4 If condensate accumulates as a continuous film due to low interfacial tension (IFT), then high IFT gas/oil and water/oil kr data may not be applicable to gas condensates.5 Water invasion of gas condensate reservoirs may enhance hydrocarbon recovery or trap potential reserves. Laboratory results suggest water invasion of low IFT gas condensates may not be represented using high IFT water/oil and water/gas displacements.6 Subsequent blowdown may remobilize hydrocarbons trapped by water invasion. The presence of condensate may hinder gas remobilization, thus conventional gas/water blowdown experiments may not be appropriate in evaluating the feasibility of depressurization for gas condensates.7,8 Other laboratory evaluations of gas condensate flow behavior indicate measured results depend upon experimental procedures, fluid properties, and rock properties.3,9–20 Factors to consider include the history of condensate formation (i.e., imbibition or drainage), how condensate was introduced (i.e., in-situ dropout versus external injection or inflowing gas), flow rate, differential pressure, system pressure, IFT, connate water saturation, core permeability, and core orientation. Experiments performed to evaluate the consequences of water invasion suggest optimum conditions depend upon IFT, initial gas saturation, and core permeability.7,21,22 Reported blowdown experiments imply gas recovery depends upon the degree of gas expansion.7,8 The kr results obtained in this study represent gas condensate flow between the far-field and the near-wellbore region. The results are useful input for numerical simulation, especially to test rate- or IFT-sensitive relative permeability functions. Results on hydrocarbon recovery and trapping from water injection and blowdown are beneficial in evaluating improved recovery options for gas condensates. Experimental Procedures Coreflooding experiments were performed under reservoir conditions using rock and fluid samples from two distinct North Sea gas condensate reservoirs. A detailed description of the experimental methods is provided in the Appendix. Briefly, the experiments were conducted in a horizontal coreflood apparatus equipped with in-line PVT and viscosity measuring devices. The entire system experienced in-situ condensate drop out by constant volume depletion (CVD) from above Pd to either the pressure corresponding to CCS, or to the pressure of maximum condensate saturation Scmax Steady-state krg was measured by injecting equilibrated gas (before CCS). Steady-state krg and krc were measured by injecting gas condensate repressurized to above Pd (after CCS). The gas/oil fractional flow rate was defined by the pressure level in the core which was controlled by the core outlet back-pressure regulator. During krg measurements, the injection rate was varied to access rate effects. After the krg or krg and krc measurements to Scmax were completed, water injection was performed to quantify hydrocarbon trapping and recovery. Blowdown followed to evaluate additional hydrocarbon recovery. Recombined Reservoir Fluid Properties. Two North Sea gas condensate reservoir fluids were recombined using separator oil and synthetic gas. Tables 1 and 2 list compositions and PVT properties for the reconstituted fluids. The Pd was 7,070 psig at 250°F for Reservoir A, and 6,074 psig at 259°F for Reservoir B (Table 2). The maximum liquid dropout under constant composition expansion (CCE) was 31.7% for Reservoir A, and 42.5% for Reservoir B (Fig. 1). Reservoir B is a richer gas condensate and exhibits more near-critical phase behavior than Reservoir A.

<p class="MsoNormal">Kulturhistorisk Museum Randers har i de senere &aring;r sat &oslash;get fokus p&aring; byens indvandrerhistorie. I 2003 dokumenterede museet de tyrkiske g&aelig;stearbejderes historie, og i 2005 blev der set n&aelig;rmere p&aring; tyrkernes b&oslash;rn.<span style="font-family: 'Times New Roman'; font-size: small;">&nbsp;</span>Tyrkerne var den f&oslash;rste store gruppe af indvandrere i Randers, men er i antal siden blevet overhalet af bosnierne, hvoraf de f&oslash;rste kom til byen som krigsflygtninge i 1993.</p> <p class="MsoNormal">Denne artikel er baseret p&aring; en unders&oslash;gelse af de bosniske krigsflygtninge, som museet foretog henover sommeren 2010. Udover at klarl&aelig;gge det historiske forl&oslash;b for bosniernes tilv&aelig;relse i Randers, giver unders&oslash;gelsen gennem tolv interviews et indblik i, hvordan bosnierne er faldet til i byen. Det beskrives desuden, hvorledes det er at v&aelig;re bosnier i Randers i dag. Interviewgruppen udgjordes af otte kvinder og fire m&aelig;nd. Blandt kvinderne var der fire, der aldersm&aelig;ssigt befandt sig i tyverne, mens de resterende befandt sig i henholdsvis trediverne, fyrrerne og halvtredserne. For m&aelig;ndenes vedkommende var den ene halvdel i fyrrerne og den anden i halvtredserne.<span style="mso-spacerun: yes;">&nbsp; </span></p> <p class="MsoNormal">Unders&oslash;gelsen viser blandt andet, at de m&aring;l for integration, som Randers Kommune satte sig, da det fra 1995 stod klart, at de bosniske flygtninge ville blive i byen, p&aring; de fleste omr&aring;der stemte overens med &oslash;nskerne fra st&oslash;rstedelen af bosnierne. For kommunen blev det i l&oslash;bet af kort tid det v&aelig;sentligste, at de mange nye borgere blev i stand til at klare sig selv gennem sprog, besk&aelig;ftigelse og bolig, mens det for bosniernes vedkommende handlede om hurtigst muligt at komme i gang med det liv, som krig og uvished havde afbrudt. At de bosniske flygtninge skulle integreres socialt i det danske f&aelig;llesskab og gennem danske netv&aelig;rk var af begge parter prioriteret lavere. Selvom kontakten til danskerne i Randers stadig mest er begr&aelig;nset til arbejde og uddannelse, opfattes bosnierne i Randers i dag, b&aring;de af dem selv og den danske majoritetsbefolkning, alligevel som den mest velintegrerede st&oslash;rre indvandrergruppe i byen.</p>

Ivan Boserup & Karsten Christensen: Anders Sørensen Vedel’s manuscript about Marshal Stig. Two comments on Svend Clausen’s thesis in Fund og Forskning 55, 2016 Svend Clausen has in vol. 55 of Fund og Forskning called attention to a lost and “forgotten” parchment manuscript described by Anders Sørensen Vedel in 1595 as “The History of Marshal Stig” containing key documents related to the trial which followed the assassination in Finderup Grange of King Eric V ‘Glipping’ of Denmark (1259–1286). Clausen’s evidence consists of registrations of manuscripts known only through their titles, which had been available to the Danish historians Anders Sørensen Vedel (1542–1616), Niels Krag (1550–1602), and Jon Jakobsen ‘Venusinus’ (1563–1608), but appear ultimately to have burned in the fire of Copenhagen in 1728. The sources referred to by Clausen were published in one case by H. F. Rørdam in 1874, in all other cases in the appendix to S. Birket Smith’s History of the University Library of Copenhagen, 1882, reprinted 1982. Apparently inspired by a casual remark made in 1891 by the then very young historian Mouritz Mackeprang, Svend Clausen argues that despite the lack of extant copies and quotations etc., the manuscript’s supposedly exclusively judicial contents and allegedly very considerable volume reveal the “existence” of such an important source that future research on the background and consequences of the royal assassination must take much more account of this lost source than has been the case until now. Reviewing Svend Clausen’s arguments, Ivan Boserup corrects Rørdam’s and Clausen’s incomplete reading of the source on which the latter builds his identification of Vedel’s manuscript with descriptions of a lost manuscript “Concerning King Eric [Glipping],” and rejects Clausen’s interpretation of “… cum adversariis ac diversis” (Clausen seems unaware of the literary concept of adversaria), on which all his further arguments are based. From his professional standpoint as a historian, Karsten Christensen refers to Vedel’s strong focus on Marshal Stig in his collection of One Hundred Danish Folk Songs (publ. 1591), to Vedel’s idiosyncratic manner of describing his manuscripts from the point of view of his own main interests, and to the fact that in contrast to the Jens Grand trial held before the Pope in Rome in 1296, one should not expect written actiones to have been delivered at the meeting of the Danish grandees in Nyborg Castle in 1286 subsequent to the murder of Eric Glipping. Christensen therefore suggests that it is much more probable that the manuscript referred to in Vedel’s registration refers to a lost manuscript that, contrary to the one associated by Svend Clausen with Vedel’s lost manuscript, can be followed closely all the way up to 1728, and the contents of which have been detailed by the historian Stephanus Stephanius (1599–1650).

Niniejszy artykuł dotyczy problematyki wrogich przejęć w Polsce oraz metod przeciwdziałania im. Przedstawiono w nim najważniejsze definicje i cechy firmy rodzinnej, jaką była firma W. Kruk. Szczególną uwagę zwrócono na jej historię firmy analizę samego procesu wrogiego przejęcia. Celem artykułu jest identyfikacja problemu, jakim jest wrogie przejęcie, oraz wskazanie skutecznych metod przeciwdziałania takim zjawiskom.

This article discusses about the contract between a poduct house and a freelance film worker on a television film production locates in Yogykarta. This article is the result of the research that aims to know about wanprestatie done in a contract. The research is included into an Empiricaljuridical research category. The research is done at Yogyakarta, by selecting the purposive sample. The data used in this research is secondary data of literature references through document study and primary data, which is the data that gained directly by doing interviews. The collected data will be analized qualitatively and will be reported as a descriptive research. The result of this research showed that in dealing with a contract between a production house and freelancer of television film which located in Yogyakarta, may cause wanprestatie possibly happen, such as the fee payment’s pending and inappropriate health supporting. A wanprestatie which might be done by a freelancer is doing resignment before the end term of the contract, a sudden employee’s replacement, and the lateness of a freelancer to go for her/his work, so it causes less profit for a production house. The protection of law for this kind of contract are job contract, working hour, resting hour, salary payment, and technically protection.Keywords: job contract, wanprestatie, law protection

Den engelske forfatter J.R.R. Tolkiens Ringenes Herre (RH) kan betragtes som et stykke moderne mytologi, der udviser samme trefunktionelle struktur, som den franske religionsforsker Georges Dumézil har identificeret i indoeuropæisk mytologi og religion.Trefunktionaliteten kommer til udtryk i Ringens Broderskab, hvor førstefunk­tionen repræsenteres af Gandalf (magtens magiske side) og Aragorn (magtens politiske side), andenfunktionen (krig og kamp) repræsenteres af Legolas, Gimli og Boromir, og tredjefunktionen (frugtbarheden) repræsenteres af de fire hobbitter. Den trefunktionelle struktur optræder ikke blot blandt disse personer og deres kulturelle baggrunde, men også i de handlingstråde, personerne følger, og i måden, hvorpå de konfronteres med Saurons ondskab. Trefunktionaliteten former således fortællingen i dens tre grundtemaer: kongen, krigen og Ringen.

Artiklen omhandler forholdet mellem tale om statens vold på den ene side og tavshed om vold mod kvinder i familien på den anden. Den stiller spørgsmålene: Er der former for statslig vold, der ikke omtales, og er det i visse tilfælde muligt at tale åbent om vold i familien? Artiklen diskuterer desuden, hvilke muligheder og begrænsninger henholdsvis tavshed og tale giver kvinder og mænd for at bryde med volden og udfordre udøverne af den. Diskussionen tager udgangspunkt i fire irakiske kvinder bosat i Danmark. Alle fire er eller har været gift med irakiske mænd, der har været udsat for tortur i Irak under Baath-styrets regering, og alle fire kvinder er eller har været udsat for vold fra deres mænd. De har altså erfaring med både statens vold og med den private vold i hjemmet. Artiklen konkluderer, at den vold, der finder sted i hjemmet, som regel ikke udtrykkes eksplicit, mens erfaringer med statens vold formidles i mange sociale sammenhænge. Det kan dog ske, at private og kønnede erfaringer med statens vold forties. Det kan også ske, at vold i hjemmet omtales åbent, hvis volden beskrives som et afledt resultat af statens vold med henvisning til, at manden udøver vold som følge af sine traumer fra tortur. Hvordan ofre for vold får stemme, har konsekvenser for deres handlemuligheder og for, hvordan man kan tænke løsninger og veje ud af volden. Søgeord: tavshed, italesættelse, torturofre, vold mod kvinder, Irak, køn This article addresses the relationship between talking about state violence on the one hand and the silencing of domestic violence against women on the other hand. It asks the questions: What kinds of state violence are not talked about, and is it in some cases possible to talk openly about domestic violence? The article also discusses the opportunities and constraints of silence and speech that allow women and men to break the violence and challenge perpetrators. The discussion is based on fieldwork among and interviews with four Iraqi women living in Denmark. The four women are married to or have been married to Iraqi men who have been tortured in Iraq under the Baath regime, and the women are being or have been abused by their husbands. Therefore they have experienced both state violence and domestic violence. The article concludes that the violence that takes place in the home is usually not expressed explicitly, while the experience of state violence is communicated in many social contexts. Private and gendered experiences of state violence may be silenced. It may also be the case that domestic violence is referred to openly in cases where a man’s violence is described as being a result of state violence because trauma resulting from torture makes the victim commit violence himself. The way victims of violence gain voice has implications for possible action and how to think about ways out of violence.Keywords: Silence, speech, torture, violence against women, Iraq, gender

Seni tradisional adalah bagian dari kekayaan bangsa Indonesia yang wajib untuk dilestarikan. Nilai-nilai kearifan lokal yang terkandung di dalamnya berfungsi mendinamisasi masyarakat daerahnya. Generasi muda adalah pewaris yang diharapkan memahami dan berperan aktif menjaganya. Teknologi pembuatan film yang berkembang secara masif menggerakkan semangat anak muda membuat film, bukan hanya sebagai penonton. Pengalihwahanaan seni tradisional menjadi bentuk film merupakan strategi untuk mendekatkan dan menumbuhkan kecintaan anak muda terhadap seni tradisi. Mitra PPM ini adalah Komunitas Film Desa Ant Black dan Sanggar Ketoprak Santhi Aji yang berada di Desa Sumber, Kecamatan Dukun, Kabupaten Magelang. Program ini merupakan keberlanjutan dari program pelatihan pengelolaan Ndeso Film Festival (NFF) 2019 yang mampu memantik semangat produksi film para pemudanya. Proses produksi yang kurang terencana mengakibatkan kelelahan kru dan pemainnya, sehingga waktu produksi menjadi molor dan belum dihasilkannya karya film dengan baik. Oleh sebab itulah program pendampingan ini dibutuhkan oleh masyarakat. Metode yang dipilih dalam program PPM ini adalah 1) Dengar pendapat dan diskusi; 2) Pelatihan dan workshop produksi; 3) Pendampingan proses pascaproduksi; dan 4) Pemberian hibah peralatan penyuntingan digital. Hasil yang dicapai dari program ini adalah meningkatnya pengetahuan dan keterampilan mitra dalam memproduksi film serta penambahan jumlah karya yang dihasilkan berupa film pendek berjudul Ledhek Bariyem.

The concept of the threefold office of Jesus was developed in the explanation of the name Christ. The three distinct offices of king, priest and prophet in Israel are thought to be united in the one Messiah. Since the unity of all three offices in one person is not found in so many words in one specific text from the Bible, it is regarded as a theological concept. As such it was developed for the first time in the Heidelberg Catechism (HC). This article traces the development of the exposition of the Apostles’ Creed in earlier Lutheran and reformed catechisms. Special attention is devoted to the one by Johannes Brenz, which was used in the Palatinate before 1563. The main source of the new Catechism of Heidelberg is the Catechismus minor by Zacharias Ursinus, who himself may have been influenced by Martin Bucer and John Calvin and their respective Catechisms. A special feature of the HC is question and answer (Q/A) 32, devoted to a parallel exposition of the name Christian. Caspar Olevianus’ work Vester Grund (A Firm Foundation) is read as a contemporary commentary on the exposition of the Creed. The catechetical power of the concept of Christ’s threefold office is finally demonstrated in its use in systematic theologies as by Gerrit Immink and Michael Welker, especially in their Christologies.Die konsep van die drievoudige amp van Jesus is ontwikkel in die verklaring van die naam Christus. Die drie onderskeie ampte in Israel, dié van koning, priester en profeet, word gesien as verenig in die Messias. Aangesien die vereniging van al drie ampte in een persoon nie soseer in een spesifieke Bybelteks gevind word nie, word dit as ’n teologiese konsep beskou. Dit is sodanig vir die eerste keer in die Heidelbergse Kategismus (HK) ontwikkel. Hierdie artikel ondersoek die ontwikkeling van die uiteensetting van die Apostoliese Geloofsbelydenis in die konteks van vroeëre Lutherse en gereformeerde kategismusse. Daar word veral na Johannes Brenz se Kategismus, wat voor 1563 in die Pfalz gebruik is, gekyk. Die vernaamste bron van die Heidelberger is die sogenaamde Catechismus minor van Zacharias Ursinus, wat weer deur Martin Bucer en Johannes Calvyn en hul onderskeie Kategismus beïnvloed is. ’n Uitstaande kenmerk van die Heidelbergse Kategismus is vraag en antwoord (V/A) 32, wat aan ’n parallelle uiteensetting van die naam Christen gewy is. Dit kan aan die hand van die Engelse vertaling van Caspar Olevianus se werk, A Firm Foundation, verduidelik word. Die kategetiese krag van die konsep van Christus se drievoudige amp word gedemonstreer in die gebruik daarvan in sistematiese teologieë, soos Gerrit Immink en Michael Welker se Christologieë.

Introduction – Polish GrungeThe main objective of this article is to examine the grunge scene of the 1990s in Poland in the context of acculturation and assimilation processes. Polish grunge was, on the one hand, the expression of trends that were observable in music industry since the late 1980s. On the other hand, it was symptomatic of a rapid systemic transformation. Youth culture was open for the diffusion of cultural patterns and was ready to adopt certain patterns from the West.Thus, we suggest that the local grunge scene was completely modelled on the American one: the flow of cultural practices and subcultural fashion were the manifestations of the assimilation processes in Poland, observable not only in art (i.e. rock music), but also in the domains of politics and economy, as well as in the broader social sphere. We explore how young people were ready to adopt only the surface level of the phenomenon as they were familiar with it through the media coverage it received. Young people in Poland circa the early ‘90s primarily wanted to gain access to an imaginary Western lifestyle rather than learn about real living conditions in capitalist societies, and they could do this through their involvement in grunge culture.Grunge as a Cultural PhenomenonGrunge as a popular music trend arose in the USA during the late 1980s and early 1990s, in the work of bands such as Nirvana, Pearl Jam, Stone Temple Pilots, Soundgarden, and Alice in Chains. Grunge was initially opposed to consumerism and capitalist values. Nevertheless, A&R scouts recognised the commercial potential of this music: for example, Nirvana’s Nevermind was released by Geffen Company, and Pearl Jam’s Ten by Epic. As Grzegorz Brzozowicz and Filip Łobodziński put it (313),the success of Nirvana was a post-mort triumph of punk rock and, more importantly, it indicated the potential of alternative music, which suddenly stepped outside an aesthetic ghetto and became a hot stuff. This influence was also visible as regards fashion and customs – Dr. Martens’ shoes, flannel shirts, frayed jeans, and wool caps became an outfit common for the young (…). Grunge influenced visual art, film and photography.In Poland, grunge as a subculture and sub-genre of rock music emerged in the early 1990s following the international commercial success of bands such as those listed above, and it entailed the assimilation of the Western cultural patterns. Although assimilation processes were typical primarily for youth culture, they were observed in the wider context of the changes and adaptations that Polish system underwent after the fall of the centrally planned economy and subjugation to the communist party power after the Yalta agreements (1945-1989/1990).In this context, the concept Centre/Periphery (Gopinathan, Saravanan and Altbach; Hannerz; Langholm; Pisciotta) appears as the field for the dissemination of popular culture. Popular culture is a battlefield for creating and negotiating the meanings that are inherent within cultural practices (Barker). Cultural practices play a double role in the dissemination of ideas or objects. Firstly, they come as a result of adaptation in a defined culture, and secondly, they make new cultural patterns stabile, visible, and easy to practice by people as flexible patterns of behaviour. This point is clearly visible in the context of the East European states that underwent rapid acculturation processes in which new patterns of economic and social solutions were established in centre-planned economies: the tensions of the “old” and the “new” patterns dominating in the political and social systems of those countries (e.g. Poland, the Czech Republic, Latvia, Lithuania, etc.) were visible and affected societies to a considerable degree (Pisciotta). Thus, the practices generated in cultural Centres tend to disseminate easily and to “conquer” other cultural systems, especially in the Periphery.In the case of popular culture, the flow of influences usually takes a one-dimensional form and is disseminated from the Centre to the Periphery. As Marek Jeziński (162-163) argues, both Centre and Periphery are functional systems. These systems have generated their own mythology, which separates one from another. However, as in the case of mythological systems in general, Centre and Periphery tales overlap frequently, and there are evidence that the bands that originated in the Periphery were assimilated by the Centre. For example, Nirvana and Pearl Jam were both successful in market terms and both built their own status based on the Peripheral components that were skilfully overtaken by the Centre narrative. While the Peripheral narratives are concentrated mainly on the undermining of the definition of situation and present dysfunctional character towards cultural system as such, the Centre narratives aim to maintain the definition of situation supporting mainstream values and their prevailing position in a system (Jeziński 164). Grunge is the epitome of such an implementation of cultural patterns. That is, grunge started as a fringe peripheral cultural phenomenon. The major records companies, however, recognised its potential and provided the space in the music market to support the new bands. Most of the groups in the US started as independent local acts related to independent record companies that built their status.In relation to the assimilation of grunge culture in Poland, we can distinguish two key phenomena. The first is concerned with the adaptation of general subcultural components, e.g. fashion and group identification. Here, the acculturation processes run as a primary form of mimicry, as the Polish grunge scene adopted elements typical of the grunge subculture, such as oversize sweaters, flannel shirts, Dr. Martens shoes or Converse trainers, long hair, and beanies. A newly formed subculture was different from the others popular in the 1990s. For example, punk and metal subcultures implied strong group identity, style homogeneity, rigid group limitations, and firm membership rules. Conversely, it seems that the grunge subculture was based more on a level of liquid and fragmented patchwork identity than on very inflexible group values and internal ideology or political attitudes (cf. Muggleton). Such patchwork identity formation was a result of a rapid clash between the adaptation of grunge cultural patterns from the West and the Polish economic transformation of the early 1990s.Poland underwent rapid changes that were also visible in the politics, culture and social domain, joining liberal democracies and liberal free market economies of the West. These changes resulted from a transformation of the system as a whole: from a central planned system to decentralisation of the power at both local and state levels (Sarnecki). Equally important were the changes in the political culture of Poles and their value system: they accepted the democratic changes but simultaneously, the mentality of Poles remained traditionalist (which is visible in surveys— the most important values for them were “family” and “work”), and their attitude towards the processes of cultural and institutional changes was impermanent (Garlicki; Jasińska-Kania).During the transformation, the changes were visible in the everyday lives of Polish citizens: examples include the shortages in the market that were evident after the socialist regime ended, and the easy availability of Western clothes such as jeans, shirts, denim jackets in ordinary stores. Consequently, the economic rates in the 1990s were higher in comparison to the previous decade (Bałtowski and Miszewski). Those changes resulted in a phase shift in the modernisation process, where patterns of economic and cultural development and were faster than the enculturation and socialisation processes.On the one hand, the free market allowed for almost unlimited commodification with unprecedented access to goods and services. On the other hand, the low cultural capital and economic possibilities of the citizens evolved rapidly. The communist-shaped social division fell apart, and the new class designations based of consumption/commodification patterns were established (Jeziński; Wojtkowski). Those factors resulted in high cross-generational mobility, lower entrance barriers, and higher openness indicators (cf. Polska klasa średnia; O ruchliwości społecznej w polsce).Hence, in cultural conditions based on capitalist consumption practices, the grunge subculture evolved with a commodified sense of style rather than with a firm identity. Yet, in the case of grunge style, relatively high costs of subculture commodities (e.g. Dr. Martens shoes, Converse trainers, or band t-shirts) led to DIY practices such as buying cheaper no-name shoes, and sewing badges with the names of bands and albums on jackets or backpacks.The second phenomenon encompasses the adaptation of music patterns. The Polish grunge scene was not as diversified in terms of genre variations as its US counterpart. In the beginning, the Polish grunge scene was more distressed geographically, with no specific Centre-Periphery relations. However, one of the most important bands, Hey, was established in the Northwest. When one looks at Polish grunge evolution as a ‘clash’ of American genre and the specific character of a time and place where Polish bands were recording, she or he will notice multiple similarities with the US scene.Firstly, we could name two approaches to grunge music among Polish performers: ‘intellectual’ and ‘rebel’. The ‘intellectual’ approach encompasses the group Hey. This band was established in Szczecin (the Northwest Poland), but after the success of their first album – Fire (1993), they moved to Warsaw. Hey released 11 studio records, but only the first three could be classified as “grunge” (cf. Sankowski). On the level of musical references, Fire sounds like a mixture of early Pearl Jam combined with Alice in Chains. With English lyrics and song topics that were typical for grunge— e.g., The Choice (“You’ve got a gun/You can use it now”)—similarities with Pearl Jam, in particular, are striking. The band evolved, and on their second album, Ho! (1994), Hey mixed equally Polish and English lyrics with the dynamic and specific Seattle sound (cf. Prato). Hey’s most distinctive feature comparing with other Polish grunge bands is its highly developed melodic approach to music and the poetic, sensual style of its lyrics. The third record, ? (1995), closes the band’s early stage. The next album, Karma (1997), opens the period when the amalgamation of electronics, hard rock and grunge dominated Hey’s music, with the album [sic!] (2001) representing the turning point in the group’s music style. The band suspended their work in 2017 and will probably never reunite.Over time, Hey gained one of the most dedicated audiences in Polish rock music. The music industry and critics have acknowledged Hey as one of the best Polish groups in the post-communist period. Hey has received the most nominations in the history of Fryderyki, the key Polish music awards. The group and Nosowska have won twenty-three times in multiple categories. As the longest-operating grunge-origin band in the country, Hey could be considered as a most important trend setting and scene-forming group.The more “rebellious” approach to grunge encompasses bands such as Illusion (1992-1999, 2014-present) and Houk. The former was based on the grunge and hardcore mixture of influences from Alice in Chains, Soundgarden, and Rage Against the Machine (especially in terms of rap-oriented lyrics). With the preservation of certain consistency, the band named first three albums: Illusion (1993), Illusion II (1994), and Illusion III (1995). Illusion marks the band’s aggressive style and lyrics simplicity but the studio production flattens the whole and gives an impression of a post-punk DIY venture rather than a coherent composition. The second record, however, is entirely conceptualised and thought out in terms of music and lyrics. Sharp riffs, hard rock tuning of instruments and aggressive lyrics that were focused on Polish life gave the album a needed consistency. The band’s third record is the most varied stylistically and politically engaged in their history. The harder-edged tunes from previous releases are accompanied by more psychedelic compositions (Wrona) that recall Alice in Chains’ slow songs and Layne Staley’s voice.Houk’s music similarly to other Polish grunge bands was the amalgamation of various genres and their style evolved in time. Initially, the band was regarded as an example of alternative rock music. The first album Soul Ammunition (1992) was named by music monthly Tylko Rock as a debut of the year (polskirock.art.pl). The combination of grunge, hardcore, hard rock, reggae and socio-politically engaged lyrics helped the group to establish a strong fan base. The band’s unique style was recognised internationally and Houk supported New Model Army and Bad Brains during the performances in the mid-1990’s (polskirock.art.pl). The band’s second studio release Generation X (1995) was recorded prior the multiple membership reorganizations that finally ended the grunge-orientation period of Houk’s history. One of the songs, Sleep, was dedicated to Kurt Cobain and reflected Nirvana’s approach to songwriting, which can be heard in songs such as “Lithium” (1991). Such a commemoration of Cobain’s figure is characteristic of Polish grunge culture’s establishment of strong ties with the American equivalent. Here and in many similar cases, Cobain serves not only as a grunge hero (or even a martyr) but also as a commodified pop culture figure (cf. Strong). Concerning both spheres - that is, the adaptation of grunge subculture and a development of the music scene -Polish grunge follows a different pattern to the US genre. Grunge was introduced to Poland after it was popularised and commodified by the major labels and media industry in the USA, so the adopted version was the mainstream one rather than the underground movement. Hence, the simplistic dichotomy between “underground” and “mainstream” culture does not function in terms of the Polish grunge culture, and probably is misstated even when it comes to the American phenomenon. Grunge could be perceived in Poland as both the first and the last “true” subcultural trend. At the same time, though, it was an affirmation not of ‘the rebel’ and ‘the underground’ but of capitalism and the cultural values of the West. Indeed, the Polish grunge culture couldn’t be fully aware of what grunge was warning us against while Polish society faced the rapid market and cultural transformation that allowed for its opening to Western trends.Conclusion – Is Grunge Really Dead?Although the popularity of grunge phenomenon in Poland was relatively short, the most important groups of this sub-genre - Illusion, Hey, Ahimsa, Houk, and Kr’shna Brothers - widely contributed to the emergence of the new wave of fashion for rock and hard-rock music in Poland in the mid-1990s. The most successful group of the era, Hey epitomises the transformation of grunge in Poland. Starting as a typical grunge band (modelled heavily on the US groups), they underwent a serious transition, substantially changing their music into more mainstream-oriented rock (that is, as music that was considered acceptable by rock music and AOR-focused radio stations). At the same time, grunge as a rock sub-genre underwent the contrary changes: it broke into the mainstream relatively quickly in the first half of the 1990s, establishing new rock stars of the scene (Illusion, Houk, Ahimsa, Hey), but in the late 1990s it went back to being a rock niche again. It seems that today grunge serves as a point of reference (in fact, it was an important period of rock history) for the new bands that intentionally use this sub-genre as a form of commodified, media-friendly nostalgia.ReferencesBałtowski, Maciej, Miszewski, Maciej. Transformacja gospodarcza w Polsce. 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