跨國購併為企業持續成長的重要策略之一，學者針對此議題亦有諸多探討， 而過去的多數研究皆著重於—企業執行跨國購併後，企業策略與國家文化對於後 續整合的影響。然而，本研究認為文化的影響自企業開啟跨國購併談判以來，便 始終存在。此外，購併談判為跨國購併之起始，其重要性不亞於購併後的整合。 因此，本研究以企業跨國購併歷程為主體，藉此探討跨國購併企業雙方之文化差 異對於整體購併行為之影響。 本研究之目的為探討企業實際購併個案研究，讓企業未來在實際執行購併策 略時，能持續思考國家文化差異之影響，並依據其購併階段之不同，而有相對的 因應方式。 本研究以次級資料作為質性研究依據，藉由廣泛地蒐集資料，撰寫成鴻海購 併夏普之跨國購併個案。透過此篇實際個案研究，發現家文化差異對於企業能否 順利進行購併談判有重大影響，並提出企業依其所屬之購併階段不同，處理相對 應需著重之文化構面，可提高企業跨國購併談判之效率及成功率。 / Cross-border mergers and acquisitions (M&A) are one of the most important strategies for sustainable growth of a company. Many scholars had various discussions on this issue. Most of researches concentrated on how corporate strategy and national culture affect the integration after cross-border M&A. However, this study suggests that cultural impacts have long existed from the very beginning of cross-border M&A negotiations. In addition, M&A negotiation is the start point of cross-border M&A. It is equally important in the integration stage after M&A. Therefore, this study focuses mainly on the process of cross-border M&A in order to explore overall influence on the cross-border M&A due to cultural differences between the enterprises. By analyzing a real M&A case, the purpose of this study is to make enterprise consider the impact of cultural difference when they are having cross-border M&A negotiation. Besides, through this study company can understand what the most important dimension of national culture is while having M&A project. This study is a qualitative research based on extensively searching secondary data of Hon-Hai and Sharp M&A. This case study found that cultural differences between nations affect -whether the enterprise can successfully carry out M&A negotiations. This study also shows that company may generate different strategies corresponding to the difference between national culture dimensions in accordance with different M&A negotiation stage. Doing so may lead to smooth and successful M&A negotiation.

RÅ är ett kandidatarbete i text och skulptur som utforskar skogen Vilken känsla är det som fyller kroppen när den befinner sig omringad av träd, långt från andra människor? Vad definieras som skog och vad får inte göra det? Motsatsen till det mänskliga, motsatsen till det tama. Vilka myter om skogen tror vi på, hur påverkar det vårt agerande mot den? Var finns naturen kvar i oss människor? Finns det verkligen gränser mellan tam och vild, trygg och farlig, ordnad och kaos, inne och ute, innanför gården och utanför vägen. Mänsklig eller djurisk, förförisk, eller farlig. Det är i gränslandet det magiska föds, där skogen är vild och vacker.

This thesis aims to analyze and interpret a number of central works – Vimpelstaden (1985), Som en gång varit äng (1988), Blomman och människobenet (2003), I en cylinder i vattnet av vattengråt (2005) and Vad hjälper det en människa om hon häller rent vatten över sig i alla sina dagar (2009) – by the Swedish poet Ann Jäderlund (1955-) in the context of phenomenology and affect theory. The analysis consists of three chapters and proceeds chronologically with technical scrutinies of separate phases of Jäderlund’s œuvre – from the aphasic-like treatment of established phraseologies in Vimpelstaden and frozen expressions of the botanical discourse in Som en gång varit äng, to the uncanny focus on perceptual patterns as such in her later works. Throughout these analyses the thesis observes a series of techniques with which the author presents us with a kind of sensory paradox, through a) creating language-based complex appearances, non-appropriable by means of the normal perceptual patterns of embodied perception, while still b) simulating, and thus implicitly emphasizing, these appearances as something already concretely looked at and felt. In short, to experience what cannot be experienced, to live the unlivable. Many of these technical observations made are pinned down analytically using concepts from the field of cognitive poetics, namely George Lakoff and Mark Johnsons findings of experiential image schemata underpinning spoken phraseologies and their influential theories on conceptual metaphors. The interpretative conclusion following these observations is that Jäderlund handles her writing aesthetically as a kind of sensory material in a very literal sense, a “being of sensation” in the terminology of French philosophers Gilles Deleuze and Felix Guattari. Not as means of experiential or intellectual representation, not as some sort of critical enterprise through mere language-gaming of free- floating signifiers – but as a material able to preserve and perform sensory processes immanent to its own material compilation, a tendency that earlier research fails to grasp or simply ignores altogether. Thus the affectivity immanent to the literary material – often being the starting point of studies in affect theory and cognitive poetics – is here proven to be a characteristic, thereby playing the role more of a conclusion than a field of inquiry. The aesthetics of interrogating the limits of sensory experience, introducing a sort of crisis to embodied perception through the experience of poetic language – and the experience of it as having a “metaphysical significance”, as French phenomenologist Maurice Merleau- Ponty puts it – is articulated in the thesis against the background of influential readings of modern art carried out by Merleau-Ponty and Deleuze.