This essay brings new knowledge about the terms and conditions for the artisans in the swedish armament industry in Sweden during the 1800th-century. It was a time of opportunity for entrepreneurs and a time when the social and economic standing for the artistans where under pressure. This led to conflicts, and this study shows that the artisans did use multiple strategies in order to maintain their social and economic position in a changing world. The purpose of this essay is to examine conflicts regarding the social organization of the work at the gun manufactory in Söderhamn between 1749 and 1796. During this period the ownership of the facility shifted from state owned to private and back. The main sources examined in this essay are documents regarding the Söderhamns gun manufactory, found in the archive of the artilleridepartement at krigskollegium. Other sources are protocols from the the local council, the magistrat, and church records. A marxist method of analyzing the social organization of work is used. By using a model of the whole of the production process the areas of conflicts are analysed. The theoretical approach is influenced by Marx and Foucault's theories of power. The essay shows that the governmental objectives in mid 1800-th century was to rationalize the production and privatize the swedish arm manufactories in order to gain a lower prize for muskets used by the armed forces. The new organization of the production led to resistance among the artisans. The guild was the organizer of the protests, and the artisans acted strategic. They cooperated with different parties to put pressure behind their demands. Several times this was a fruitful strategy. In spite of the mercantilistic visions of their superiors, the majority of the artisans had their own workshops and where able to maintain a substantial production for the private market during the whole time. During the Seven year war the production of the infantry musket where stopped at the same time as the workers in Jönköping where stiking for better payment. Four of five facilities had problems delivering armament in 1761. When krigskollegium regained the ownership of the manufactory in 1778 the artisans lost influence. The division of labour progressed during the crown´s management.

Thesis (M.B.A.)--University of Hong Kong, 1980.

This thesis is focused on process management as one of the approaches to manage. Process management includes various techniques and activities, as process identification, process mapping, process improvement, that are also mentioned in this work. The practical part or author´s own work is concentrated on the specific corporation. The aim of this thesis was to analyse the processes in the chosen enterprise and to suggest possible improvements in selected processes.

Les fêtes et les cérémonies, de Cour, publiques ou privées, firent partie des grandes heures du règne de Louis XIV. Charles Le Brun, le Premier peintre du roi, magnifia quelques-unes de ces brillantes célébrations, associant apparat, musique, danse ou feux d’artifice. Les peintures, sculptures, tapisseries ou grandes structures, telles que des arcs de triomphe, étaient conçues ou disposées afin de s’adapter aux divertissements ou aux cérémonies, métamorphosant pendant quelques heures les édifices ou les jardins. Détruites à la fin des événements qu’elles accompagnaient, ces œuvres ont reçu peu d’attention jusqu’à présent. L’analyse des sources contemporaines et des images des décors permet de restituer ces ouvrages, mais également de les replacer dans leur contexte. La genèse de ces œuvres, leur conception et leur fabrication sont étudiées, redessinant les liens que Le Brun avait tissés avec les hommes d’État (le roi, Séguier, Fouquet et Colbert), avec les hommes de lettres, ainsi qu’avec ses principaux collaborateurs, notamment à la Manufacture des Gobelins. L’une des particularités de Le Brun dans ce domaine fut d’ordonner lui-même des fêtes et des cérémonies, ce qui constitue peut-être un cas unique pour un peintre à cette période. Ces œuvres oubliées complètent donc le portrait d’un des plus grands artistes français du XVIIe siècle. Plus que tout autre ouvrage, les décorations ordonnées par Le Brun donnent l’image la plus juste de ses recherches et de ses goûts. Enfin, l’étude de ces fêtes et de leur réception offre une meilleure compréhension de ces moments éphémères, tout en leur conférant la pérennité qu’ils méritent. / Religious ceremonies and festivals, courtly, public or private, constituted the most glorious moments of the reign of Louis XIV. Charles Le Brun, the King’s First Painter, enhanced some of these brilliant celebrations, involving pageantry, music, dance or fireworks. The paintings, sculptures, tapestries or great structures, such as triumphal arches, were designed or arranged to adapt to entertainment or ceremonies, transforming for a few hours gardens or buildings. Destroyed at the end of the events that required them, these works have received little attention until now. In this study, contemporary descriptions and reproductions of Le Bruns decorations are analyzed and brought to light to set them in the context of their day. The origin of these works, their conception and their making are studied, showing Le Bruns connections with statesmen (the King, Seguier, Fouquet and Colbert), with men of letters, and with other artists and workers, in particular those at the Gobelins Manufactory. One of the particularities of Le Brun in this domain was to commission himself festivals and ceremonies, which was perhaps a unique case for an artist at that time. These forgotten works round out the portrait of one of France’s greatest XVIIth Century artists. More than any other work, the decorations commissioned by Le Brun give the most accurate image of his research and taste. Finally, the study of these festivals and their reception offers a better understanding of these ephemeral moments, while giving them a permanence they deserve.