Metaforen priskrig är en term som används för att beteckna kombinationen av en intensiv konkurrens och rivalitet mellan olika aktörer samtidigt som en serie sänkningar av produkters priser. Aktörer sänker sina priser, varpå övriga i priskriget genomför motsvarande prissänkningar till följd av någon sänker priserna ytterligare och handlingen upprepas.Denna uppsats syfte är att undersöka det rådande priskriget inom elektronikbranschen och att utsätta branschen för en omläsning. Vi vill undersöka hur de olika återförsäljarna och ledarna inom dem agerar i priskriget, målet är inte att finna svar eller sanningar utan snarare belysa vad som sker i branschen. För att lyckas med detta har vi presenterat relevanta källor, gjort en skrivbordsanalys och utfört en kvalitativ studie med intervjuer. I vår empiri står vi under texten och arbetar som professionella översättare för att på ett så verklighetstroget vis spegla materialet vi fått från våra intervjuer. I vår analys ställer vi sedan empirin mot den teoretiska referensramen genom en omläsning som vi utför genom en narrativ berättelse. Det narrativa fortsätter sedan i vår slutsats och det är vår förhoppning att det kommer hjälpa läsaren att tolka texten på ett annat vis. / Program: Kandidatutbildning i företagsekonomi

<p><em>This essay examines wether the prevailing opinion of Machiavelli as a prominent figure in political realism is correct or if the author is misinterpreted and can be said to represent something more. Thus, the puropse of this essay is to revise the description of Machiavelli given in widely used Swedish textbooks. This is done on the basis of a thesis saying that Machiavelli, judged not by his renowned book ‘The Prince’ (Fursten), but in the light of his extensive work ‘Discourses’ (Republiken), does not advocate a sovereign power but rather promote a pluralistic society. The method used in this essay is a qualitative textanalysis, which is done on the two books in purpose to examine three central themes in Machiavelli’s writing; the morality, the view on humanity and the state and citizen. Though there is an obvious similarity between Machiavelli’s ‘Discourses’ and the writing of Aristoteles no effort is done in this essay to describe what they have in common, but only to present a contrasting picture vis á vis the established and prevailing role of Machiavelli in Sweden. Throughout the essay it becomes clear that there is more to the subject than the authors of the textbooks let us know. By reading ‘Discourses’ I therefore stress the importance of civic virtue and rule of law in Machiavelli’s thinking.</em></p>

<p>The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.</p>

The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.

There is a debate among scholars on whether meantone temperament is historically authentic or not for performances of early music today. The debate is in some ways a continuation of an already five hundred years ongoing debate on temperaments and their effects on music. On one side there are those who claim that meantone temperament was the only used temperament during the renaissance and that it was very prevalent during the baroque period too. It should therefore be the obvious choice for early music. On the other side the perception is that meantone temperament was always seen as the lesser of evils and that equal temperament not only is superior in its abilities, but also would have been preferred by most early composers and musicians. This ongoing debate is seldom heard of outside of its spheres, but as this essay shows it is very much a contributor to the views on historical temperaments most period performers hold today.

I detta arbete fördjupade jag mig i arrangering genom att arrangera fem stycken till besättningen sopran och gitarr. Styckena var ”Melodi”, ”Stjärnöga” och ”Till en ros” av Wilhelm Stenhammar, ”O magnum mysterium” av Tomás Luis de Victoria och en finsk julsång ”Kun joulu on” komponerad av Otto Kotilainen. För att få bättre förståelse av vad arrangering innebär dokumenterade jag arrangeringsprocesserna genom att skriva loggbok. Jag intervjuade också två experter inom området, Christofer Elgh och Mats Bergström, för att få mer information om arrangering. Som svar på min första forskningsfråga kom jag fram till flera olika tekniker, verktyg och principer som går att använda när man arrangerar för gitarr. Dessa var till exempel byte av tonart, oktavförflyttningar och reducering av stämmor. Som svar på min andra forskningsfråga konstaterade jag att val av stycke påverkar arrangeringsprocessen mycket: stycken som redan från början är idiomatiska för gitarr är lättare att arrangera för gitarr, speciellt om man väljer att göra ett arrangemang med mindre konstnärligt inflytande. Om man däremot väljer att arrangera friare spelar stycket inte så stor roll, åtminstone inte på samma sätt. I ett friare arrangemang är det kanske viktigare att man som arrangör blir inspirerad av stycket. / <p>Arrangemangen och den klingande delen är arkiverade.</p>

This study examines four suits of armour that belonged to two Swedish kings, one protestant and one catholic, during the renaissance. The study tries to determine if it is possible to extract the religious identity of these kings based upon the decorations or other connotations of the suits of armour. Since the two kings, Erik the XIV:th and John the III, where half brothers and they succeeded each other, the suits of armour are closley matched in time and style.   The study also examines the grave effigy of one of the kings, John the III of Sweden, to examine if there is a connection between crossed legs on effigys and the perception of religion during the period.   The study is conducted through a archeological and historiological method and uses a combination theory of Smarts seven dimensions and the pictoral turn.   The main question of the study is: -          What does it take to track religious bias through armour? The subsequent questions are: -          Is it possible to find the religious identity in the suits of armour? -          Was the Gothicism movement a religious movement? -          The effigy of John the III was sculpted in a style popular in the eleventh century, created in the 16:th century and placed in the 18:th century. What conclusions can be drawn from this while also tracking the discourse of effigys in the same time expance.   The study concludes that if the identity of the owner of a suit of armour is known, the symbols that adorne the suit can be interpreted fairly well. It also conludes that the gothic movement in Sweden where an extremely aggressive catholic movement. Finally it concludes that the creation and placement of the tomb in Uppsala cathedral closely follows the different discourses about the meaning of crossed legs on effigys in Europe and that the makers most likely gave the position a devout religious connotation.

This essay examines wether the prevailing opinion of Machiavelli as a prominent figure in political realism is correct or if the author is misinterpreted and can be said to represent something more. Thus, the puropse of this essay is to revise the description of Machiavelli given in widely used Swedish textbooks. This is done on the basis of a thesis saying that Machiavelli, judged not by his renowned book ‘The Prince’ (Fursten), but in the light of his extensive work ‘Discourses’ (Republiken), does not advocate a sovereign power but rather promote a pluralistic society. The method used in this essay is a qualitative textanalysis, which is done on the two books in purpose to examine three central themes in Machiavelli’s writing; the morality, the view on humanity and the state and citizen. Though there is an obvious similarity between Machiavelli’s ‘Discourses’ and the writing of Aristoteles no effort is done in this essay to describe what they have in common, but only to present a contrasting picture vis á vis the established and prevailing role of Machiavelli in Sweden. Throughout the essay it becomes clear that there is more to the subject than the authors of the textbooks let us know. By reading ‘Discourses’ I therefore stress the importance of civic virtue and rule of law in Machiavelli’s thinking.

On May 7, 1581, Elisabet Vasa, Princess of Sweden, married Duke Kristoffer of Mecklenburg. The Princess was equipped with a large dowry and, by Swedish standards, an extensive collection of objects, including jewellery. The essay's thesis is that the official jewellery that Elisabet brought with her to her new court were identity-creating symbols of a performative nature that would consciously strengthen the legitimacy of the new Vasa dynasty on the international stage. The essay is based on a comparative analysis of inventories from 1581, 1593 and 1597. The essay examines and discusses the donors' and recipient's agency, or "touch", and intentions with the jewellery. The essay's result shows that parts of the thesis - that the official jewellery that Elisabet brought with her among the gifts in 1581 were identity-creating symbols of a performative nature - appear to be highly probable based on the few but significant art acts that have been possible to trace in sources and archives. According to the material of the existing study, however, the jewellery did not fulfil its intended function of strengthening the Vasa dynasty and its legitimacy on the international stage as Elisabet herself had different intentions and apparently actively worked to assimilate to her new environment as Duchess of Mecklenburg.

Följande arbetes syfte har varit att titta närmare på förindustriell militaria i nutida utställningar. i huvudsak granskas europeiska rustningar men övrig militaria nämns till mindre utsträckning i arbetet. De tre institutioner som granskas i arbetet är följande: The Wallace Collection, Livrustkammaren samt Skoklosters slott. Här återges en tidslinje från rustningars tid som kroppsskydd och maktsymboler, nygotikens påverkan på ett ökat intresse för rustningar och medeltiden, och den roll rustningar kom att spela. Detta åtföljs av proveniensens och rustningsmedernas stämplar. Många av rustningarna som granskats bär stämplar som kan identifiera dem. Sedan lyfts bevarande av förindustriell militaria. Sista frågeställningen jämför tillgänglighet av objekt i visningssalen, hur ”krigsbyten” i samlingar idag begrundas mer öppet om exempelvis accession och ursprung, samt hur en uppställning kan se ut i praktiken och vad som har förändrats. Avslutningsvis granskas frågan rörande autentiska ”original” och hur ovanligt detta är för rustningar. De flesta rustningar skapades för aktiv användning, hur hanteras då de ”trasiga” delarna? / The following work examines pre-industrial arms and armour in present-day exhibits. The focus leans mostly towards European armour, arms are mentioned but to a lesser extent. The three institutions chosen for this are as following: The Wallace Collection, The Royal armouries of Stockholm and Skokloster Castle. Here a timeline is given to explain armours role as body armour and symbols of power during the medieval and the renaissance period. How the gothic revival during the 19th century created a demand for pre-industrial arms and armour. After that provenance and armourers’ marks are examined for their importance in identifying the armours history. This is followed by an examination of preservation in present-day exhibits. Lastly this work examines things like items on available display, acknowledgements to trophies of war, how a modern exhibit could be set up and lastly the concept of “original” and how rare that can be for armour.