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This paper analyzes the keep‐versus‐replace decision whee labor shortages act as production bottlenecks, which can be lessened to some degree by employing new labor saving equipment. Additional realism is brought to the analysis by explicit consideration of product demand, learning, and multiple product situations.

In this chapter, I discuss the artistic representation of the musical illustration of funeral rites and ceremonies in contemporary Poland. The death of a person in many cultures is perceived as an important point in the life of a given community, especially a family; hence, people tend to express feelings stemming from these circumstances through art. Songs sung at funerals and during the mourning period have been used for centuries as a way for the living to express their grief for the person who has died. From an anthropological point of view, the main function of music accompanying funeral rites is to help family and friends of the deceased recover from their loss.

To illustrate my argument, I analyse the recording of folk songs by Adam Strug and Kwadrofonik: ‘Requiem Ludowe’ (‘The Folk Requiem’), released on CD in 2013. The musical motifs and lyrical themes are based on original folk tunes of Eastern Poland (Podlasie and Lubelszczyzna regions) that are still used in the villages during the bereavement period. The songs on the CD, which are: ‘Czemu tak rychło, Panie’ (‘Why is it So Soon, my Lord’); ‘Żegnam cię mój świecie wesoły’ (‘Goodbye my Merry World’); ‘Żegnam was mitry i korony’ (‘Goodbye to you Mithra and Crowns’); ‘Żegnam was wszystkie elementa’ (‘Goodbye to you all the Elements’); ‘Powiem prawdę świecie tobie’ (‘I Shall Tell you the Truth, my World’); ‘Piekło’ (‘The Hell’); ‘Czyściec’ (‘The Purgatory’); ‘Niebo’ (‘The Heaven’); and ‘Wieczność’ (‘The Eternity’) are rooted in Christian funeral traditions and they are supplemented by elements of Slavic folklore.

The lyrics of the mourning songs published on the recording display a specific attitude to the mythology of death and bereavement present in the culture of Polish peasants. The main themes of these folk songs, namely, the praise of the deceased, the grief of the remaining family, the preparation of the dead one for eternal life or the attempts to cross the threshold of life and death, are presented by the artists as the soul’s journey from the Earth to the Underworld, and through Purgatory to Eternal life as a final stage of a person’s destination. They show how the rural people imagine death itself and express their feelings of loss and grief in art to overcome the fear of the unknown.

The main objective of this paper is to analyse the roles of the artists’ collective in the creation of socially shared knowledge, concerning Gdansk Shipyard's heritage protection during the urban regeneration process over last ten years, since 2002.

The empirical section of the paper is based on a single case study concerning the artists collective’ ability to build a complex network of social relations, to research cultural heritage of the Gdansk Shipyard, to translate this knowledge into symbolic languages through art-based work and to transmit knowledge to the wider public with an aim to engage in an open dialogic public communication.

The case study draws on insights from participant observation carried out on the premises of the Gdansk Shipyard between years 2000 and 2008 and interviews with individual artists from the collective, conducted between years 2004 and 2006. Data was also drawn from archival research. The exposure in public media was also examined over last ten years, including Internet websites as well as newspapers and magazines’ content.

The case study research indicates that methods and techniques applied by the artists’ collective in researching the shipyard's historical heritage and communicating their findings to the wider public have been more effective than the official planning methods of expert-led post-industrial urban regeneration. Over the last ten years, the artists have succeeded to transform the negative perceptions about the values of the shipyard's cultural heritage and engaged local citizens in the preservation of the historical identities of the place. In 2012, the Mayor of Gdansk has invited representatives of the artists’ collective to the newly established Young City Stakeholders’ Board in order to utilize their knowledge of the shipyard's cultural heritage and their capacity to mediate between various groups involved in urban regeneration planning process as well as to communicate with the wider public.

Despite persistent views in literature that equate public engagement in the planning process of urban regeneration with a kind of “modern utopia”, we argue that participatory process is not only possible in practice but also can be highly effective and democratically ethical.

The purpose of his paper is to present a teaching methodology for improving the understanding of ethical decision making. This pedagogical approach is applicable in college courses and in corporate training programs.

Participants are asked to analyze a set of eight ethical dilemmas with differing situational contingencies and to choose from among alternatives for handling the dilemma. Group discussion then focuses on a comparison of participants' choices relative to their personal ethical orientations as measured by a standardized self‐report instrument.

The experiences of the authors with this methodology indicates that participants are able to gain a better understanding of the factors, both individual and situational, that frame an ethical dilemma. This methodology can also show how individuals can be influenced to make unethical choices based on the presence of certain contextual factors.

This paper describes a novel instructional approach for improving the understanding of the factors that frame and influence ethical decision making. This approach is innovative in that it uses vignettes describing real‐life ethical dilemmas in conjunction with an assessment of individual differences in ethical orientation.

This article advances a conceptual typology delineating the differences and similarities between business- and social-sector new venture creators. Our classification scheme differentiates business and social entrepreneurs, considering characteristics of social entrepreneurs in a larger entrepreneurial context.Within a conceptual 2x2 typology based on two dimensions: drive (passion vs. business) and desired return (financial ROI vs. social ROI), we identify and classify 80 examples of new venture creators into one of the quadrants of an enterprise model of entrepreneurs. Preliminary results reveal similarities between social and traditional entrepreneurs and differentiate social entrepreneurs in terms of traits, goals, tendencies, and motivational sources.