This study aims to view an extended family locally connected to the Swedish city of Kalmar. The purpose is to analyse whether the extended Kreuger-family could be considered an upcoming elite, in spite of their foothold in trade, commerce and manufacturing. While these concepts would traditionally be associated with the bourgeois; the evolving times of primarily the nineteenth century creates a platform for social mobility and change that might have affected the Kreuger-family in ways that created a role for them in society that was no longer middle class, but instead a local form of an elite. The study analyses lifestyle and inventory of the estates of five generations of Kreugers, alongside marital alliances with members of the upper class within six generations of the extended family. Lastly the source material is viewed didactically for a teaching scenario. The source material include inventory of estates, personal letters and biographical material from the public archive of Kalmar Läns Museum. The result shows that the Kreuger-family could be considered as a rising elite in some respects. Advantageous marriages to members of the upper class increased from the first generation to the sixth culminating in six noble marriages in total. While income seemed to fluctuate, symbolic capital remained intact. Profession evolved from trade to commerce and manufacturing, resulting in a majority of success. The result shows a middling class family steadily rising higher on the social ladder, due to economical success. The extended Kreuger-family can be categorized as a new and modern elite, steadily rising from the year 1710 and onwards.

Denna uppsats handlar om två tidningars skildring av rapporteringen vid Ivar Kreugers självmord och tiden däromkring, mars och april 1932. Artiklarna har utsatts för en komparativ analys för att likheter och skillnader i innehållet skall tas fram. Genom denna analys syftar uppsatsen att undersöka skillnader på en beroende och en obunden källa i det historiska materialet. Uppsatsens resultat ger en tydlig bild av skillnader och likheter i de båda tidningarnas innehåll. Vidare framkommer det hur en obunden och en beroende källa väljer att spegla olika nyheter, vinkla dem på olika sätt rent språkligt och förbise andra. Även likheterna kan ses då artiklarna förändras med tiden och de bl.a. väljer att framhäva samma slags lugnande ton och hyllning till det svenska folket. Medias makt blir allt tydligare då jämförelsen av källorna fortlöper och speglar tidningarnas rapportering kring den tragiska utvecklingen efter Ivar Kreugers självmord.

Både vinstandelslån och kapitalandelslån är två välkända finansiella instrument vars förflutna är händelserik. Dessa instrument användes för första gången under Ivar Kreugers tid 1928, vars benämning under den tiden var participating debentures. Dessa låneinstrument blev en succé under en kort tid, tills Kreugerkraschen inträffade 1932, då hela börsen kraschade och alla som hade investerat i de så kallade participating debentures led stora förluster. Sedan dess har rättsläget kring vinstandelslån och kapitalandelslån varit osäkert. Lagstiftaren valde i samband med 1975 års aktiebolagslag att förbjuda kapitalandelslånet, men det blev tillåtet igen 2005 då grunderna för förbudet bland annat, inte var tillräckliga. Vad gäller skillnader och likheter mellan vinstandelslån och kapitalandelslån kan det konstateras att både skillnaderna och likheterna är flera, vilka kommer att belysas och kartläggas i uppsatsen. Vidare kommer en redogörelse av för- och nackdelar mellan vinstandelslånet och kapitalandelslånet att behandlas, vilket är en viktig del i arbetet, då läsaren erhåller en bredare kunskap om hur de båda skiljer sig åt. / Both the participating loan (vinstandelslån) and the share equity loan (kapitalandelslån) are two well-known financial instruments whose past is eventful. These financial instruments were used for the first time during Kreuger's time in 1928, whose specific description during that time was participating debentures. These loan instruments were a success for a short time until the famous Kreuger crash occurred in 1932, the resulting stock market crash caused all those who had invested in so-called participating debentures to procure large losses. Since then, the legal positions regarding participating loan and equity loans have been uncertain. The legislature chose (in connection with the 1975 Companies Act) to prohibit the share equity loan; but in 2005, the restriction was lifted as the grounds for the prohibition were not sufficient. With regards to the similarities and differences between participating loan and share equity loan it can be concluded that both the differences and the similarities are many, which will be identified and presented in this thesis. Moreover, an explanation of the pros and cons between the participating loan and share equity loan will be given, as well as how to treat them, as the reader will receive a broader understanding of how the two differ.

This bachelor thesis covers the subject of the impressionist painter Nils Kreuger and aselective five works of art he produced during the industrialization. The aim of the study is toexamine how Kreuger expressed his oppositional position to the industrialization through therepresentation of horses and their relation to the landscapes in which they are depicted. Withthe use of the viewer's reflective perception the study takes interest in aesthetic dimensionsand meanings and if or how they can mediate the concept of freedom in visual arts. And if so,how is it expressed in the works of Kreuger? The result shows that there is reason to believehis paintings express and mediate the concept of freedom through the analysis of hisaesthetics and the intrinsic meaning in his work.

Doctoral thesis--Göteborg, 2000. / Bibliogr. p.215-219. Résumé en anglais.

This master thesis explores the image of Japan in the artistic creations during Japonism in Sweden. Japan and Sweden first started trading in 1868 and knowledge about Japan in Sweden were limited at best. With the emergence of the Western art movement known as Japonism, ranging from 1858 to 1914, fascination for the unknown country grew in Europe. As the art movement Japonism became the first era of interest of Japan in Sweden, the portrayal and subsequent image of the country that emerged during this time is of interest to examine, as to better understand how Japan was imagined by Sweden. Herein, this study aims to analyse the portrayal of Japan in artworks from Swedish artists during Japonism in order to examine what components and ideas composed the image of Japan conveyed during Japonism. A collection of visual artworks depicting Japanese elements, based on Japonism associated artists and creators, have been collected using digital archives and databases to assess what is depicted and how by the creators. Japanese elements, such as objects, clothes, people and landscapes were subsequently analysed using a visual analysis based on researcher Jules David Prown’s three-step method of analysing historical objects. Using the concept of the image, as defined by scholar Torsten Burgman, as the basis of the analysis the depictions of Japanese elements are examined and categorised into several larger and smaller components. The examination is conducted within a framework of ethnocentrism and orientalism to contextualise the image of Japan with the thought structures in 19th century Sweden, as the creators portrayed Japan from both a Swedish and Western Eurocentric colonial perspective. As the source material is artistic depictions, an additional aesthetic framework was applied to contextualise the image of Japan with its artistic medium. Four major image components were found in the material: Japan presented as a commodity; Japanese things as something feminine; Japan as something faraway and exotic, contrasting the West; and Japan as a reference or commentary on the ongoing Japonism movement. The image of Japan found in these depictions of Swedish Japonism was a Eurocentric and ethnocentric understanding of the country. Japan and Japanese things, were imagined as something exotic and beautiful, and usually conveyed as exotic commercial flair for Western women.