S’inscrivant à la croisée de l’histoire des expositions et des relations culturelles internationales, la thèse a pour principal objectif l’étude de la construction d’une certaine image de la nation mexicaine à l’étranger à travers l’art et de la manière dont celle-ci a été perçue par des audiences diverses dans différentes contrées. Pour ce faire, la thèse propose une étude de la présence de l’art mexicain dans l’espace transnational analysant des phénomènes de circulation, médiation et réception autour de la première grande exposition d’art mexicain itinérante en Europe. Entre 1952 et 1953, l’exposition Art mexicain du précolombien à nos jours a été présentée successivement à Paris, Stockholm, Londres et Mexico. Cette manifestation culturelle participe d’une longue génèse qui remonte aux années 1920. Après plusieurs tentatives échouées, l’idée de présenter une exposition d’art mexicain en Europe émerge à nouveau dans le monde de l’après-guerre, impulsée par le gouvernement mexicain et une constellation d’acteurs européens étatiques et non-étatiques qui ont fait que le projet se concretise en 1952. La thèse étudie les enjeux que cette manifestation a répresentés pour ses promoteurs, ainsi que la manière dont son discours curatorial consacre une certaine rhétorique nationaliste qui insiste sur la continuité du génie artistique mexicain à travers les époques. L’étude des réceptions et des va-et-vient au sein de l’espace euro-américain est alors menée à travers l’analyse des diverses représentations autour du Mexique exprimées par les publics européens, ainsi que par les manières dont la société mexicaine resignifie les réactions européennes vis-à-vis de l’art mexicain afin de les adapter au contexte local. Ensuite, ce travail se concentre sur les adhésions et les rejets exprimés au Mexique par rapport à ce portrait de lo mexicano impulsé depuis l’État. La thèse démontre comment cette exposition est devenue par la suite un modèle pour la présentation de l’art mexicain à l’étranger, décliné à plusieurs reprises dans les décennies suivantes comme le fer de lance de la diplomatie culturelle mexicaine. / Located in the intersection of the fields of History of Exhibitions and History of International Cultural Relations, this thesis studies the construction of a particular image of the Mexican nation abroad through the medium of art, and the ways in which this image was perceived by diverse audiences in different countries. The thesis analyzes the circulation, mediation and reception of Mexican art in a transnational context for the first major traveling exhibition of Mexican art in Europe.Between 1952 and 1953, the exhibition Art mexicain du précolombien à nos jours (Mexican art from pre-Columbian times to the present day) was successively presented in Paris, Stockholm, London and Mexico City. This cultural event draws upon a long prehistory that dates back to the 1920s. After several failed attempts, the idea of presenting an exhibition of Mexican art in Europe reemerges in the postwar period driven by the Mexican government and a constellation of European state and non-state actors, leading up to the opening of the exhibition in Paris on May 20, 1952.The thesis studies the stakes that various promoters had in the exhibition as well as the ways in which its curatorial discourse crystallized a nationalist rhetoric that stresses the continuity of the mexican artistic genius through the ages. It further investigates the different receptions and interactions within the Euro-American space by analyzing the various representations of Mexico articulated by the European publics; conversely, it examines the ways in which Mexican society resignifies the European reactions vis-à-vis Mexican art and adapts them to the local context. Moreover, this work scrutinizes the approvals and rejections expressed by the Mexican public with regard to the particular image of lo mexicano promoted by the state. The thesis demonstrates how this exhibition became a model for the display of Mexican art abroad, reappearing several times in various declensions over the following decades as a trademark of Mexican cultural diplomacy.

I och med verkställandet av IFRS 3 och revideringen av IAS 36 gick de svenskamarknadsnoterade bolagen från att skriva av goodwill linjärt till att årligen testa posten förnedskrivningsbehov. Den direkta effekten blev större goodwillposter och lägre av- och nedskrivningskostnader. Studien ämnar undersöka huruvida det föreligger utrymme försubjektiva bedömningar när goodwill ska testas för nedskrivningsbehov. Studien ämnar även att undersöka om det föreligger incitament för en företagsledning att utnyttja bedömningen av goodwill för att manipulera bolagets resultat i enlighet med earnings management-teorin. Studien omfattar 138 observationer från 2017, vilka är svenska börsnoterade bolag noterade på OMX Stockholms listor Mid cap och Large cap. Den inhämtade datan kommer från databaser samt manuellt hämtad från samtliga bolags årsredovisningar. Med studiens syfte och deduktiva utgångspunkt har en kvantitativ ansats antagits och fyra hypoteser utvecklats. Den första hypotesen testar sambandet mellan marknadens förväntan på nedskrivning av goodwill och ett bolags faktiska nedskrivning av goodwill. Övriga hypoteser behandlar sambandet mellannedskrivning av goodwill och earnings management-faktorerna resultatbaserade bonusar, lånekontrakt och VD-byte. Med hjälp av linjära regressioner testas även om de sistnämnda variablerna påverkar nedskrivning av goodwill. Studien visar inte på några signifikanta resultat och samtliga nollhypoteser accepteras. Vi kan inte dra slutsatsen att det finns några samband mellan de testade earnings managementfaktorerna. Vi kan heller inte säga om det finns något samband mellan marknadens förväntan på nedskrivning av goodwill och ett bolags faktiska nedskrivning av goodwill. Trots att studien inte uppnår några signifikanta resultat hoppas vi att den kan bidra med en diskussion som kan ligga till grund för framtida och fortsatt forskning inom ämnet. / With the implementation of IFRS 3 and the readjusted version of IAS 36, all Swedish companies listed on OMX Stockholm went from goodwill write-off on a straight-line basis to testing the asset annually for impairment. The direct effect was greater goodwill assets and lower depreciation and impairment costs. This study aims to investigate whether there is scope for subjective assessments when goodwill is to be tested for impairment. The study also intends to investigate whether there is an incentive for a business management to utilize the assessment of goodwill to manipulate the company's results in accordance with the earnings management theory. The study contains 138 observations from 2017, which are all Swedish listed companies on OMX Stockholm on the lists Mid cap and Large Cap. The collected data comes from databases and manually retrieved from the company’s annual reports. A quantitative approach has been adopted and four hypotheses have been developed based on the aim of the study and the deductive starting point. The first hypothesis tests the correlation between the market’s expectation of goodwill impairment and a company's actual impairment of goodwill. The other hypotheses deal with the correlation between impairment of goodwill and earnings management factors such as performance-based bonuses, debt covenant and CEO changes. Linear regressions also test whether the latter variables affect decisions regarding goodwill impairment. The study do not show any significant results and all null hypotheses are accepted. We cannot conclude that there are any connections between the earnings management factors tested, neither can we say if there is any correlation between the market's expectation of goodwill impairment and a company's actual impairment. Although the study does not achieve any significant results, we hope that it can contribute with a discussion that can form the basis for future and continued research within the subject.

Bakgrund: Taximarknaden har varit, och är, under förändring. Till följd av den teknologiska utvecklingen har nya aktörer och substitut etablerat sig på marknaden. Uber, Bzzt och Lime är endast tre av de företag som vuxit fram under de senare åren. De nya företagen bidrar inte endast med nya, innovativa substitut till traditionell taxi, utan även ökad konkurrens vad gäller tillgänglighet via digitala plattformar. Syfte: Syftet med uppsatsen är att analysera den teknologiska utvecklingens betydelse för taximarknadens struktur och funktion, med fokus på Stockholm. Metod: Uppsatsens referensram är Structure-Conduct-Performance modellen. För djupare analys och förståelse har intervjuer med: Bzzt, Svenska Taxiförbundet och Taxi Stockholm, genomförts. Uppsatsen innefattar även två egna undersökningar om taxiföretagens prisnivå och tillgänglighet. De taxiföretagen som inkluderas i uppsatsen är: Sverigetaxi, TaxiKurir, Taxi Stockholm, TOPCAB samt Uber. Slutsats: Den teknologiska utvecklingen har en stor betydelse för taximarknadens struktur och funktion, i det avseende att den bidrar till en mer kundcentrerad och effektivare marknad. Marknadsstrukturen i Stockholm liknar en hybridmarknad mellan oligopol och fullständig konkurrens, beroende på de storleksmässiga skillnader som finns mellan aktörerna. Marknaden har en jämn prisnivå och bra tillgänglighet, varav det sistnämnda har förbättrats till följd av utvecklandet av taxiföretagens egna applikationer. / Background: The taxi market has been, and is, undergoing a transformation. As a result of the technological development, new companies and substitutes have been established on the market. Uber, Bzzt and Lime are only three of all the new companies that have emerged in the recent years, and not only contribute with new, innovative substitutes for traditional taxi, but also increased competition in terms of accessibility through digital platforms. Purpose: The purpose of the essay is to analyze the influence of the technological development on the taxi market’s structure and function, with focus on Stockholm. Completion: The main framework of the essay is the Structure-Conduct-Performance model. For a more profound analysis three interviews were conducted with: Bzzt, Svenska Taxiförbundet and Taxi Stockholm. The essay also includes a study of the price level and a study of the accessibility to a taxi. The included companies are: Sverigetaxi, TaxiKurir, Taxi Stockholm, TOPCAB and Uber. Conclusions: The technological development have a large impact on the structure and function of the taxi market, since it contributes to a more customer-centered and efficient market. The market structure in Stockholm is similar to a hybrid market of an oligopoly and perfect competition, depending on the difference in size of the existing companies. The market has a uniform price level and a good accessibility, of which the latest has improved as a result of the development of the taxi companies own applications.

<p>I denna uppsats studeras hur kontakter mellan filmproducenter och manusförfattare, regissörer och finansiärer skapas och fördjupas samt i vilka konkreta fysiska rum sådana kontakter kan ske. Djupintervjuer har gjorts med tre Stockholmsbaserade filmproducenter och två andra nyckelpersoner i samma stad. Dessa intervjuer har sedan analyserats dels hermeneutiskt, dels genom diskursanalys. Resultaten visar att kontakter ofta skapas dels genom personliga nätverk, dels i själva arbetet med filmprojekt. Mötesplatserna är ofta temporära och interna, även om vissa typer av miljöer som kontor, lägenheter och restauranger återkommer. Filmhuset i Stockholm samt diverse filmfestivaler i Sverige och utomlands är några av få mer fasta och allmänna mötesplatser. Dessa platser/miljöer kan också relateras till den bild som informanterna skapade av producentrollen som en samtidigt social, konstnärlig och ekonomisk aktör.</p>

<p>I den aktuella diskussionen om kultur som tillväxtfaktor och Stockholms stads arbete med att bli en internationellt framstående kulturstad har Berlin upprepade gånger använts som ett framgångsrikt exempel. Därför är det intressant att undersöka och jämföra hur de två städernas kulturpolitik har sett ut under de senaste decennierna. Vilka idéer är det som har varit tongivande inom kulturpolitiken och på vilket sätt har dessa påverkat hur kulturpolitiken i respektive stad ser ut som den gör idag?</p> / <p>In the current debate on culture as a contribution to economic growth and Stockholm city’s initiative to develop into a internationally recognized city of culture many comparisons have been made to Berlin. It is therefore interesting to investigate and compare how the cultural policy in the two cities has developed during the last decades. What ideas have been influential in the cultural policy during the last decades and in which way have they affected the way the cultural policy in the two cities is organized today?</p>

<p>Syftet med uppsatsen är att göra en deskriptiv studie av drivkrafter bakom Debasers uppkomst och utveckling på Stockholms livemusikscen samt försöka identifiera dominerande idéer på fältet som kan ha påverkat Debaser och livemusikscenens utveckling. Med fält syftar vi på fältet för musikbranschen. Inom fältet ryms bland andra olika aktörer på livemusikscenen, boknings- och skivbolag, musiker och kulturpolitiker.</p><p>Uppsatsen är en kvalitativ studie som till stor del baseras på primärdata från intervjuer med Debasers grundare och med personer inom fältet för musikbranschen. Vid intervjuerna har vi utgått ifrån en semistrukturerad intervjuguide som tar upp vissa teman och förslag på specifika frågor baserade på syftet och den givna referensramen för studien. Referensramen består av teorier inom det institutionella perspektivet, organisationsidentitet, entreprenörskap och tillväxt.</p><p>De slutsatser som vi kommit fram till är bland annat att Debasers uppkomst till stor del möjliggjordes av tre dominerande idéer inom fältet som kommit att påverka Stockholms livemusikscen. Till att börja med fanns en idé om att det fanns en brist på Stockholms livemusikscen, vilket var något som konstaterats från många håll. Debasers grundare som redan var aktiva inom fältet kände av denna brist som i sin tur skapade ett utrymme för dem som intentionellt handlande entreprenörer att starta sin verksamhet. Även den andra idén om att det skedde ett så kallat attitydskifte från politiskt håll gentemot pop och rock men även mot själva livemusikscenen skapade ytterligare möjligheter för Debasers grundare att förverkliga sin affärsidé. Attitydskiftet påverkade inte bara Debaser utan även andra entreprenörer inom fältet vars möjligheter att skapa nya livemusikscener ökade i kölvattnet av Debasers uppkomst, så kallade svärmar. Den tredje idén var att det skett ett fokusskifte inom fältet då livemusik fått allt större utrymme vilket kan ha påverkat den positiva tillväxt som Debaser haft sedan sin start. Debaser har kommit att bli en stark aktör inom fältet som kämpat för sina intressen och har skapat organisering kring idén om behovet av en levande livemusikscen i Stockholm.</p> / <p>The purpose of this thesis is to do a descriptive study of driving forces behind the origin and development of Debaser on the live music scene in Stockholm and also the dominating ideas within its field. The field is the music business field within which different actors operate, such as booking agents, record companies, musicians, politicians and the live scene itself. <strong></strong></p><p>The study is based on qualitative primary data from interviews with the founders of Debaser and with persons within the field for the music business. When executing the interviews we used a semi-structured template, focusing on specific themes with suggestions for questions based on the purpose and the given frame of reference. The frame of reference of the study consists of theories regarding the institutional perspective, organizational identity, entrepreneurship and growth in small companies. <strong></strong></p><p>The conclusions we have come to is for one that the origin of Debaser was made due to three dominating ideas within the field that has come to affect the scene for live music in Stockholm. The first was an idea of a gap on the scene for live music and that there was a need for a concert venue of middle-size. This idea was confirmed from various actors. The founders of Debaser who were already active within the field were aware of the gap, which in turn enabled them as intentionally acting entrepreneurs to establish their business. The second idea deals with a change of attitude among politicians towards pop and rock music and the scene for live music which also created possibilities for the founders to realize their business. This change of attitude also affected other entrepreneurs within the field, so called swarms that were able to start up new scenes for live music in the wake of Debaser. The third idea deals with a focus shift in the music business that gives live music more space, which could have affected the growth of Debaser in a positive way. As we see it, Debaser has become a powerful actor within the field who works hard to gain its interests and has created organization around the idea of the need of a dynamic scene for live music in Stockholm.</p>

<p>This essay is called ”<em>The hunt for anarchists- a study</em> <em>about the police in Stockholm's collection of bandit portrait during the turn of the century 1900</em>”<em> </em>and it is about the criminal category ”Anarchists” who the police in Stockholm used at the turn of the century 1900.  In the archive from the police in Stockholm during the essays time perspective, 1899-1909,  there are about one hundred photographs in the category ”Anarchists”, about half of these pictures have no information besides the names of the people, but the other half, 48 persons, have some information about age, work title and where the person come from. The information showed that the people in the pictures where not from Sweden, and after controlling them in all different kinds of archives I found only ten of them have left any traces in Stockholm. What I realized then was that the people on the pictures are anarchists from different countries in Europe, mostly from Italy, and that the police in Stockholm had these pictures because different police stations around Europe had sent them to the police in Stockholm. The police in Stockholm where on the lookout for fugitive anarchists.</p><p>The literature about the anarchist movement in Italy during this time describe the hard situation for Italian anarchists. The police had persecuted, arrested and executed manyof them so many anarchists had fled abroad. The same was for Russian anarchists after the unsuccessful revolution in 1905. Eight of the ten anarchists of the police photographs who had been in Stockholm where Russians. They were a group who was accused of trying to kill the Russian czar visiting Stockholm in 1909.</p><p>None of the anarchists on the pictures have ever in Stockholm committed a political crime so to find out what a anarchist crime is have not been possible. But the general picture of the anarchists in the photographs is of a man in his 30’s with a working class job, in short: an everyday man.</p>

Since the beginning of the 21st century the open plan dwelling, i.e. open connections between reception areas and kitchen, has become an increasingly popular form of housing in Sweden. The aim of this thesis is to investigate narratives describing the life in open plan apartments, discussing (1) what they contain, (2) how they are constructed and distributed and (3) what social consequences they entail. These three questions have an immediate connection to the three levels of the critical discourse analysis formulated by Norman Fairclough where he analyses every instance of a discourse as simultaneously being text, discursive practice and social practice.  The study has been accomplished in the newly built area Hammarby sjöstad in Stockholm through interviews with builders, architects and people living in open plan apartments. Articles in interior magazines describing an open plan lifestyle has also been taken into consideration. Three themes is being discussed, the first describing the social qualities imagined to be naturally embedded in the open plan architecture. The second highlights the idea of cooking as both a way of living and as a factor contributing to the popularity of the open housing design, and the last focuses on the open plan home as a place for self performance.  At the text-level the material describes the impact of the open plan dwelling as a result of new interests, as dependent on new social habits and as a desire to put the home and the ongoing life on display. The ideas of what an open plan architecture actually can accomplish may, at a discoursive practice level, be given explanations from three main orders of discourse: the architectural, the market, and the good life order of discourse. The social practice level makes it obvious that the ideals concerning housing and lifestyle simultaneously reproduce old and create new social practices, taking into account cultural notions of gender relations, family life, social habits and questions of class.

This essay is called ”The hunt for anarchists- a study about the police in Stockholm's collection of bandit portrait during the turn of the century 1900” and it is about the criminal category ”Anarchists” who the police in Stockholm used at the turn of the century 1900.  In the archive from the police in Stockholm during the essays time perspective, 1899-1909,  there are about one hundred photographs in the category ”Anarchists”, about half of these pictures have no information besides the names of the people, but the other half, 48 persons, have some information about age, work title and where the person come from. The information showed that the people in the pictures where not from Sweden, and after controlling them in all different kinds of archives I found only ten of them have left any traces in Stockholm. What I realized then was that the people on the pictures are anarchists from different countries in Europe, mostly from Italy, and that the police in Stockholm had these pictures because different police stations around Europe had sent them to the police in Stockholm. The police in Stockholm where on the lookout for fugitive anarchists. The literature about the anarchist movement in Italy during this time describe the hard situation for Italian anarchists. The police had persecuted, arrested and executed manyof them so many anarchists had fled abroad. The same was for Russian anarchists after the unsuccessful revolution in 1905. Eight of the ten anarchists of the police photographs who had been in Stockholm where Russians. They were a group who was accused of trying to kill the Russian czar visiting Stockholm in 1909. None of the anarchists on the pictures have ever in Stockholm committed a political crime so to find out what a anarchist crime is have not been possible. But the general picture of the anarchists in the photographs is of a man in his 30’s with a working class job, in short: an everyday man.

I den aktuella diskussionen om kultur som tillväxtfaktor och Stockholms stads arbete med att bli en internationellt framstående kulturstad har Berlin upprepade gånger använts som ett framgångsrikt exempel. Därför är det intressant att undersöka och jämföra hur de två städernas kulturpolitik har sett ut under de senaste decennierna. Vilka idéer är det som har varit tongivande inom kulturpolitiken och på vilket sätt har dessa påverkat hur kulturpolitiken i respektive stad ser ut som den gör idag? / In the current debate on culture as a contribution to economic growth and Stockholm city’s initiative to develop into a internationally recognized city of culture many comparisons have been made to Berlin. It is therefore interesting to investigate and compare how the cultural policy in the two cities has developed during the last decades. What ideas have been influential in the cultural policy during the last decades and in which way have they affected the way the cultural policy in the two cities is organized today?