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...The Wharton School University of Pennsylvania Marketing 777 MARKETING STRATEGY Professor: George S. Day, Suite 700 JMHH, Telephone: 215 898 8245 Email: dayg@wharton.upenn.edu Administrative Mary Donegan Assistant: Suite 700 JMHH Telephone: 215 898 2104 Email: mdonegan@wharton.upenn.edu Office Hours: By appointment Web Café Address: http://webcafe.wharton.upenn.edu/eRoom/mktg/777c Class Schedule: Monday and Wednesday 9:00am – 10:20am 10:30am – 12:00 noon Introduction This course views marketing as both a general management responsibility and an orientation of an organization. Relatively less attention will be given to the specific activities of the marketing department, sales group, or advertising function in implementing strategic decisions. We will take the viewpoint of the general manager and the senior marketing executive to address the issues of: ➢ Formulating segmentation and focus strategies ➢ Understanding, attracting and keeping valuable customers ➢ Positioning the business to achieve an advantage over competitors ➢ Identifying and exploiting growth opportunities ➢ Allocating resources across businesses and segments ➢ Managing the channels for gaining access to the served markets, and ➢ Aligning the organization to changing market requirements. The course will use a mix of cases, lecture/discussion, outside speakers, and group...
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...OUTLINE OF MBA 520 Fall Semester 2008 Business Finance Instructor: Grant McQueen Teaching Assistants: Mark Cherrington & Office: 636 TNRB Christian Hsieh Phone: 422-3017 Office: 324 TNRB Office Hours: MW 2:00 - 3:00 p.m. Phone: 422-6835 e-mail: Office hours: forthcoming Home page: Course Description and Objectives This course introduces basic financial concepts all business managers should understand regardless of functional specialization. Topics include financial analysis and planning, time value of money, valuation, capital budgeting, risk/return trade-offs, cost of capital, and capital structure. The pedagogical approach used is a mixture of lectures and case examples. Cases are often used as a vehicle for discussing the complexities of real-world financial problems. To benefit most from this method of teaching, you will want to come prepared to discuss the cases in detail. By the end of the semester, students should be able to: (1) describe essential characteristics of the finance profession and institutions, (2) be conversant in basic financial jargon, (3) value paper assets (stocks and bonds) and tangible assets (capital budgeting) using the tools of time value of money, including NPV and IRR, (4) explain the various sources of financing, their associated costs, and their advantages and disadvantages, (5) calculate and use financial statements and ratios to analyze a business and create and use pro forma statements for planning...
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...Course Description and Objectives This course introduces basic financial concepts all business managers should understand regardless of functional specialization. Topics include financial analysis and planning, time value of money, valuation, capital budgeting, risk/return trade-offs, cost of capital, and capital structure. The pedagogical approach used is a mixture of lectures and case examples. Cases are often used as a vehicle for discussing the complexities of real-world financial problems. To benefit most from this method of teaching, you will want to come prepared to discuss the cases in detail. By the end of the semester, students should be able to: (1) describe essential characteristics of the finance profession and institutions, (2) be conversant in basic financial jargon, (3) value paper assets (stocks and bonds) and tangible assets (capital budgeting) using the tools of time value of money, including NPV and IRR, (4) explain the various sources of financing, their associated costs, and their advantages and disadvantages, (5) calculate and use financial statements and ratios to analyze a business and create and use pro forma statements for planning and decision-making purposes, (6) appreciate the complexities international business, and (7) demonstrate team skills by actively participating in group written cases. Course Materials Text: Background readings and problem sets are from Ross, Westerfield and Jordan (RWJ), Fundamentals of Corporate Finance...
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...UNIT 1- CAR BODY DETAILS Cars can come in a large variety of different body styles. Some are still in production, while others are of historical interest only. These styles are largely (though not completely) independent of a car's classification in terms of price, size and intended broad market; the same car model might be available in multiple body styles (or model ranges). For some of the following terms, especially relating to four-wheel drive / SUV models and minivan / MPV models, the distinction between body style and classification is particularly narrow. Please note that while each body style has a historical and technical definition, in common usage such definitions are often blurred. Over time, the common usage of each term evolves. For example, people often call 4-passenger sport coupés a "sports car", while purists will insist that a sports car by definition is limited to two-place vehicles. Body work In automotive engineering, the bodywork of an automobile is the structure which protects: ⦁ The occupants ⦁ Any other payload ⦁ The mechanical components. In vehicles with a separate frame or chassis, the term bodywork is normally applied to only the non-structural panels, including doors and other movable panels, but it may also be used more generally to include the structural components which support the mechanical components. Construction There are three main types of automotive bodywork: ⦁ The first automobiles were designs...
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...The Woman, The Myth, The Legend: Mae West—American Woman Abstract Born Mary Jane West in 1893, Mae was a strong, vivacious woman whose career spanned vaudeville, the small stage, The Great White Way and the silver screen. She is known for her over-accentuated figure and use of double entendres. Born the daughter of a prize fighter and immigrant, she grew up in the city of New York. She was doted on, as well as encouraged, by her mother, Tillie. She began performing at the age of four and was soon on stage where she came to life. She rarely attended school; getting her education on the stage instead. She became sexually active at a young age and learned to use her sexuality in her acts. After a number of years on stage and touring with various troupes, Mae began composing her own material. With the help of a writer, she produced a number of plays, many of which never made it to production. She always insisted on having control over her parts and lines, sometimes infuriating directors. Night After Night, her first movie, was her first foray in Hollywood and had her rewriting the entire role from its original version. The writer and director were against it, but Mae convinced studio heads to test both versions. They all agreed that Mae’s revisions were the way to go. While not a starring role, she stole the show as the hatcheck girl says to her, “Goodness, what beautiful diamonds,” Mae responds, “Goodness had nothing to do with it!” Mae continued making movies with constant...
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...1 02 Income Determination 18. Basic earnings per share is computed by dividing net income by the weighted average number of common shares of stock outstanding. 19. The change in equity of an entity during a period from transactions and other events from non-owner sources is known as comprehensive income. 20. The basic accounting equation may be expressed as assets = liabilities – owners’ equity. 21. 22. count. 23. uity. Debit means increase. A contra account is an account that is subtracted from a related acRevenues increase owners’ equity and expenses decrease owners’ eq- Income Determination True-False 1. To measure earnings under accrual accounting, revenues are recognized when they are received. 2. Revenues are earned when the seller substantially completes performance required by an agreement. 3. The matching principle requires that expenses be recognized in the same period in which the revenues are recognized that were produced by the expenses. 4. Recognition of revenue under the cash basis occurs when the revenue is received. 5. Under the cash basis, expenses are recognized when the costs expire or assets are used. 6. Cash-basis accounting provides the most useful measure of future operating performance. 7. Accrual accounting recognition rules for revenues and expenses are designed to alleviate mismatching problems that exist under cash basis accounting. 8. According to generally accepted accounting principles, revenue should be recognized at the earliest time...
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... | | | |Name | | |Marks | |Student No. | | |Multiple | | | | | |Choice | | |Subject |Financial Management | |Essay | | | | | |Questions | | |Tutor |K F Chan | | | | | |Assignment 1 DUE DATE: 11 March 2013 (Monday) | |Total : | | Instructions : |Please fill in the circle completely. |e.g. right - ( |wrong - |( ( ( | | ...
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...March 14, 2008 Dwelling in Possibilities By Mark Edmundson Our students' spectacular hunger for life makes them radically vulnerable. At the beginning of school last fall, I ran into a student on the University of Virginia Lawn, not far from the famous statue of Homer instructing an admiring pupil. Homer's student is in a toga. Mine was wearing wraparound sunglasses like Bono's, black jeans, and a red T-shirt emblazoned with Chinese characters in white. Over his shoulder he carried his laptop. We asked each other the usual question: What did you do over the summer? What he did, as I recall, was a brief internship at a well-regarded Internet publication, a six-country swing though Europe, then back to enjoy his family and home, reconnect with high-school friends, and work on recording a rock CD. What had I done? I had written five drafts of a chapter for a book on the last two years of Sigmund Freud's life. I had traveled to Crozet, a few miles away, to get pizza. I'd sojourned overnight in Virginia Beach, the day after I woke up distressed because I couldn't figure out how to begin my chapter. I'd driven to the beach, figured it out (I thought), and then I'd come home. My young friend looked at me with a mixture of awe and compassion. I felt a little like one of those aged men of the earth who populate Wordsworth's poetry. One of them, the Old Cumberland Beggar, goes so slowly that you never actually see him move, but if you return to the spot where you first encountered...
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...this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...FEATURE ARTICLES Motivating and engaging students in reading Jenna Cambria John T. Guthrie LJjdvcrsLiv û", J ou can certainly ignore motivation if you choose. But if you do, you maybe neglecting the most important part of reading. There are two sides to reading. On one side are the skills which include phonemic awareness, phonics, word recognition, vocabulary, and simple comprehension. On the other side is the will to read. A good reader has both skill and will. In the "will" part, we are talking about motivation to read. This describes children's enjoyments, their wants, and their behaviors surrounding reading. A student with skill may be capable, but without will, she cannot become a reader. It is her will power that determines whether she reads widely and frequently and grows into a student who enjoys and benefits from literacy. So we think you should care about motivation because it is the other half of reading. Sadly, it is the neglected half. Y What is motivation? Many teachers think of a motivated reader as a student who is having fun while reading. This may be true, but there are many forms of motivation that might not be related to fun and excitement. What we mean by motivation are the values, beliefs, and behaviors surrounding reading for an individual. Some productive values and beliefs may lead to excitement, yet other values may lead to determined hard work. We talk about three powerful motivations that drive students' reading. They operate in school and out of...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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