Titel: Förväntningsgapet ur två perspektiv Problemdiskussion: Ett förväntningsgap uppstår när intressenter har förväntningar på revisorn som inte motsvarar vad revisorn egentligen ska eller får göra. I de allra flesta fall handlar det om att förväntningarna är för höga. Många tror alltså att revisorer ska göra mer än vad som krävs av dem enligt lag. Förväntningsgapet beskrivs ofta som något negativt men genom vår studie vill vi bidra till en syn på förväntningsgapet ur ett annat perspektiv. Syfte: Syftet med uppsatsen är att utreda förväntningsgapet på ett sätt som snarare handlar om de föreställningar som finns om revisorer och om dessa aspekter har någon påverkan på förväntningsgapet. Målet är att undersöka om det finns positiva aspekter med förväntningsgapet och vilka dessa i sådana fall är. Avgränsningar: Vi har genomfört ett begränsat antal intervjuer samt hållit oss till vår lokala ort, Jönköping. Metod: Vi har genomfört intervjuer med 21 företag, 13 studenter, 4 revisionsbyråer samt 10 slumpvis utvalda personer. Intervjuerna har genomförts med en kombination av kvalitativ och kvantitativ metod. Vi har dessutom gjort en genomgång av vetenskapliga artiklar och böcker för att få pålitlig och vetenskapligt säkerställd fakta. Resultat och slutsats: Vi har genom vår studie ifrågasatt den negativa aspekten av förväntningsgapet och kommit fram till att förväntningsgapet varierar bland revisorers olika intressenter. Störst är förväntningsgapet från allmänheten och studenter som sällan eller aldrig kommer i kontakt med revisorer och där har gapet visat sig ha en positiv inverkan på revisorers status. Gapet har också visat sig vara positivt bland mindre företag där ovissheten om vad en revisor gör är stor. Bland stora företag är förväntningsgapet betydligt mindre eller nästintill obefintligt och där är också revisorers anseende inte lika högt. Förväntningsgapet minskar ju större kunskaper som finns och därmed också revisors anseende.

The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life / Master of Arts (Hons)

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Includes bibliographical references (leaves 414-440). Available also in a digital version from Dissertation Abstracts.

[Truncated abstract] This thesis is concerned with the representation of madness in three texts by modernist women: Dorothy Richardson' Pilgrimage, Leonora Carrington's

Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.

The subject of this thesis is Leonora written by Elena Poniatowska. The aim of the study is to analyze the literary technique and strategy used in constructing this book which depicts the life of a famous painter, Leonora Carrington. The analysis concentrates on two aspects: the extent of its feminist character and whether it can be classified as a fictional biography or a biographic fiction. In order to arrive at a conclusion on these issues a brief summary of literary and feminist theory is presented as well as a short description of relevant aspects of the surrealist movement. According to the author Leonora does not pretend to be a biography but rather a tribute to a great woman and artist. This esay however sustains that the book is a feminist fictional biography. In fact it builds upon books written by Carrington herself with a highly autobiographical content as well as on biographical texts. Both the author and her protoganist are well-known for their feminist stand and the analysis shows how feminist theory or thinking is reflected both on behalf on the writer as well as in the construction of the hero and certain aspects of her life that build up this biographical fiction.

No abstract available. / Thesis (M.Ed.)-University of Natal, 1999.

Thesis (MA (Hons)) -- University of Western Sydney, Nepean, 1998. / Includes bibliographical references.

La première partie de ce mémoire consiste en un recueil de poèmes d'inspiration surréaliste où se déroule une quête tumultueuse dans l'imaginaire, dans la nature et dans l'écriture elle-même. La seconde partie du mémoire est une réflexion sur la création. Se basant sur ce que l'écriture serait une expérience s'inscrivant dans le vécu, nous verrons comment elle peut être l'occasion d'une transfiguration de l'Être, en ce sens similaire aux rites de passage des peuples primitifs tels que décrits par Mircea Eliade. Dans cet esprit, nous serons amenés à étudier le roman Le cornet acoustique de Leonora Carrington, lequel contient une initiation mystique qui nous semble être une image de l'expérience de son créateur. Le tout est agrémenté par une réflexion sur notre propre création, à savoir comment celle-ci comporte aussi un passage.

The novel Leonora by Elena Poniatowska is about Leonora Carrington who was born into a wealthy family and challenged family traditions, and those expectations imposed by her social background and her gender. It will be shown that the main character acts according to a self-construction process free of social impositions. Simone de Beauvoir’s well-known phrase “one is not born a woman, one becomes one”, is one of the feminist positions that contributes to this analysis, as well as the literary techniques explained by Gérard Genette, Oscar Tacca, Mieke Bal and the narratology theories of focalization, direct speech, indirect speech and free indirect speech. The aim of this essay is to analyze the literary techniques that present the self-construction of the main character, and their effects on the reader. The hypotheses of this essay are that in order to present the self-construction of the character, the literary techniques create an effect of alternately zooming the reader in to the main character’s experience, and zooming out to a more objective view. In addition, the literary techniques used to present Carrington’s self-construction seek to show her feminist stance and her transgressions in both private and public spheres. Poniatowska’s literary techniques deliver the message that when a woman is released from social and cultural constraints she has the power to modify spheres.