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.

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.

Beata Maria/Dea Vults is a thesis for the degree of master (one year) in theology.   The thesis explores the role of the Virgin Mary as a martial saint in catholic combat with Islam and muslims between the years 1119 AD to 1648 AD with a focus on symbolism. The paper is focusing on symbolism in war banners, patron saints and semiotic symbols on arms and armour. There are three different events or phenomenons in the study, separated in time as well as space.   Firstly the war banner used at the battle of Las Navas (1212 AD) during the reconquista of Spain. The banner of Mary with child is the prime subjekt as well as the myths appearing in the aftermath of the battle, and the ceremony that was devised from it.   The second phenomenon is the knights templars use of Mary as patron saint, and the ceremony that followed this relationship. There is also discussion of the belts worn that were related to Mary, the use of wich is attested in documents from the trials of the templars between 1307 and 1312 AD. Lastly the paper focuses on the armours of the polish winged husars of 1648 AD and the seige of Vienna. The thesis explores the relationship between the symbols of the armour of the husars and the religious views of King John III Sobieski of Poland.   The main question of the study is:   What were the meaning of the symbols of Mary as she was carried as a ritualistic symbol for war?   The subsequent questions are:   How do you trace a progression in the useage of Mary as a symbol from the templars all the way to the use of Mary as a symbol for the winged husars?   Which types of worship of Mary as a symbol were used primarliy in wars with muslims?   The paper is researched by qualitative methods including text analysis as well as semiotic symbolism reading. There are two theories used in the analysis. Smarts dimensions and Andersons and Hulls Warrior elites, with Smarts dimensions as the dominant theory.

The purpose of this research paper has been to understand the medieval and renaissance tablature of Robert ap Huw through a comparison between Paul Dooley’s and William Taylor’s recordings of the piece Kaniad y Gwyn Bibydd from the manuscript.  My text contains a short history of Robert ap Huw’s manuscript and a description of the medieval Welsh culture, in which the music was born. It is then followed by a musical analysis of the chosen piece. My work has led me to delve deep into different versions of how the tablature could be interpreted and made me understand how vast and complex this subject is. / <p>Inspelning och mixning av stycket Kaniad y Gwyn Bibydd (arr. Peter Greenhill) av Fabian Rosenberg.</p>