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Mellan planering och irrationalitet : En studie över marknadskrafters påverkan på planekonomiers utrikeshandel mellan 1958–1991Meleaku, Daniel January 2019 (has links)
During the cold war planned economies tried to separate their internal and external trade, so as not to be affected by international trade cycles while trading with capitalist countries. However, researchers have in both old and recent discussions pointed out that planned economies trade with market economies could have affected their internal trade. This paper studies the effects of market economies foreign trade development on European planned economies foreign trade development between 1958-1991. It combines the theory of transferring market cycles through foreign trade with theories of market economies effects on planned economies. The foreign trade development of market economies had a greater effect on the smaller planned economies than on the Soviet Union. The foreign trade of the planned economies was also affected by the lifting of the CoCom embargo and the foreign trade reforms among Comecon members in 1958. Planned economies also seem to have had an internal investment structure similar to the market economies, since both economic systems were affected in the same way by international price shocks.
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En trojansk My Little Pony : En genusvetenskaplig kulturanalys av Sara Granérs seriebok All I Want for Christmas is planekonomi ur ett gurleskt och skevt perspektivLarsson, Emma Maria January 2013 (has links)
Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér’s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ”skev” – a hybrid of queer that examines normativity not strictly tied to sexuality – and gulesque theory – a mix of feminism, cuteness, the grotesque and riot grrrl –, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch. I conclude that the comic book contain feminist figures of resistance, and that it creates affects and nourishment that can be used as a means to imagine a feminist other.
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