...Alexander Onopchenko,MD Course: BSNS 5225 001 Financial Management Michael Busler, Ph.D. MINICASE #2 30 Sept. 2014 Old Alfred Road Retirement Plan “Old” Alfred Road, age 70 is ready to retire and requires assessment of his fiscal status to do so. He is a widower that lives alone in a home that he has completely paid for that he wishes upon his death to bequeath to his daughter, together with any remaining assets. He wishes to preserve the savings account for unexpected expenses and emergencies, therefore he wishes to live off his investment interest which is expected to continue to grow at .09 and social security payments which will be indexed for inflation at .04. He expects to live an additional 20 years and would like his monthly spending to increase along with inflation therefore remain stable in today’s dollars. His balance sheet is as follows: Income: Initial Interest Per Month Per Year (one) Investments 180,000 .09 1,350 16,200 Savings 12...
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...Old Alfred Road Case study Financial Analysis and Economics GRD6420T-(GR14)-T2, SP-2015-GRAD Professor Brain McElyea Student Sara McDaniel Old Alfred Road, who is well-known to drivers on the Maine Turnpike, has reached his seventieth birthday and is ready to retire. Mr. Road has no formal training in finance but has saved his money and invested carefully. Mr. Road owns his home—the mortgage is paid off—and does not want to move. He is a widower, and he wants to bequeath the house and any remaining assets to his daughter. He has accumulated savings of $180,000, conservatively invested. The investments are yielding 9 percent interest. Mr. Road also has $12,000 in a savings account at 5 percent interest. He wants to keep the savings account intact for unexpected expenses or emergencies. Mr. Road’s basic living expenses now average about $1,500 per month, and he plans to spend $500 per month on travel and hobbies. To maintain this planned standard of living, he will have to rely on his investment portfolio. The interest from the portfolio is $16,200 per year (9 percent of $180,000), or $1,350 per month. Mr. Road will also receive $750 per month in social security payments for the rest of his life. These payments are indexed for inflation. That is, they will be automatically increased in proportion to changes in the consumer price index. Mr. Road’s main concern is with inflation. The inflation rate has been below 3 percent recently, but a 3 percent rate is unusually...
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... The drug store was beginning to close for the night. Young Alfred Higgins who worked in the store was putting on his coat, getting ready to go home. On his way out, he passed Mr. Sam Carr, the little gray hair man who owned the store. Mr. Carr looked up at Alfred as he passed and said in a very soft voice, ''Just a moment, Alfred, one moment before you go.'' Mr. Carr spoke so quietly that he worried Alfred. ''What is it, Mr. Carr?'' ''Maybe you'd be good enough to take a few things out of your pockets and leave them here before you go.'' Said Mr. Carr. ''What things? What are you talking about?'' ''You've got a compact and a lipstick and at least two tubes of toothpaste in your pockets, Alfred.'' ''What do you mean?'' Alfred answered. ''Do you think I am crazy?'' His face got red. Mr. Carr kept looking at Alfred, coldly. Alfred did not know what to say and tried to keep his eyes from meeting the eyes of his boss. After a few moments, he put his hand into his pockets and took out the things he had stolen. ''Petty thieving, eh, Alfred?'' said Mr. Carr. ''And maybe you'd be good enough to tell me how long this has been going on.'' ''This is the first time I ever took anything.'' Mr. Carr was quick to answer, ''So now you think you tell me a lie? What kind of a fool do I look like, hah? I don't know what goes on in my own store, eh? I/ tell you, you have been doing this for a long time.'' Mr. Carr had a strange smile on his face. ''I don’t like to call...
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...The Master of Suspense Alfred Joseph Hitchcock was indeed one of the most iconic and influential film directors in the history of the medium as well as being internationally recognizable throughout his life. This paper delves into his earlier works, concentrating on his narrative elements such as the MacGuffin technique, the likeable antagonist, the innocent man or woman whom is falsely accused or misunderstood, and the act of balancing suspense and tragedy with humor and comedy. From a stylistic standpoint the paper conveys Hitchcock’s profound use of atmosphere and landscape, song as a suspense device, landscape of crowd caricatures, and point-of-view technique. Looking at The 39 Steps (1935), The Lady Vanishes (1938), Saboteur (1940), and Shadow of a Doubt (1943) we can see the styles and techniques these precursors pioneered and why they were implemented into Hitchcock’s greatest works in the coming decades. We take our first look at Hitchcock’s famed narrative technique, the MacGuffin. The MacGuffin was a plot device used by Hitchcock to hold the tension of the story without actually having any relevance to the plot itself. It was a gimmick that had the sole purpose of adding suspense to whatever situation the hero or heroine might have been in by motivating the characters to start the story. They do not know what it is but they will do anything to uncover its mystery, thus pushing the action and drama of the narrative forward. The initial use of this technique...
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...From How to Read Literature Like a Professor Thomas C. Foster Notes by Marti Nelson 1. Every Trip is a Quest (except when it’s not): a. A quester b. A place to go c. A stated reason to go there d. Challenges and trials e. The real reason to go—always self-knowledge 2. Nice to Eat With You: Acts of Communion a. Whenever people eat or drink together, it’s communion b. Not usually religious c. An act of sharing and peace d. A failed meal carries negative connotations 3. Nice to Eat You: Acts of Vampires a. Literal Vampirism: Nasty old man, attractive but evil, violates a young woman, leaves his mark, takes her innocence b. Sexual implications—a trait of 19th century literature to address sex indirectly c. Symbolic Vampirism: selfishness, exploitation, refusal to respect the autonomy of other people, using people to get what we want, placing our desires, particularly ugly ones, above the needs of another. 4. If It’s Square, It’s a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems. b. There is only one story—of humanity and human nature, endlessly repeated c. “Intertexuality”—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously...
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...http://www.victorianweb.org/mt/theaters/pva234.html Theatres in Victorian London Philip V. Allingham, Contributing Editor, Victorian Web; Faculty of Education, Lakehead University (Canada) [Victorian Web Home —> Authors —> Music, Theatre, and Popular Entertainment —> Theatres] Much of the following information has been gathered from Frederick and Lise-Lone Marker's in "A Guide to London Theatres, 1750-1880" in The Revels History of Drama in English, Vol. VI: 1750-1880 (1975). They, in turn, consulted H. Barton Baker's History of the London Stage (London, 1904), Allardyce Nicoll's A History of English Drama 1660-1900 (Cambridge, 1966), E. B. Watson's Sheridan to Robertson (Cambridge, Mass., 1926), and The London Stage (Carbondale, Ill., 1962-68). Phyllis Hartnoll's Concise Oxford Companion to the Theatre offers more detailed information about many of these 19th c. theatres. For supplementary texts, consult the "Reference List" below. Adelphi (Strand) Built in 1806 opposite Adam Street by merchant John Scott (who had made his fortune from a washing-blue) as the Sans Pareil to showcase his daughter's theatrical talents, the theatre was given a new facade and redecorated in 1814. It re-opened on 18 October 1819 as the Adelphi, named after the imposing complex of West London streets built by the brothers Robert (1728-92) and James (1730-94) Adam from 1768. The name "Adelphoi" in Greek simply means "the brothers." Among the celebrated actors who appeared on its stage...
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...KOFORIDUA POLYTECHNIC RENT DIFFERENTIALS BETWEEN RESIDENTIAL AREAS AND ZONGO COMMUNITIES IN GHANA AND DETERMINANTS OR FACTORS THAT MOTIVATE PEOPLE TO STAY OR HIRE AT SUCH PLACES/ AREAS. A CASE STUDY OF KOFORIDUA OLD ESTATES AND KOFORIDUA ZONGO. BY BANAFO BENJAMIN DUODU OBED FEKOW SARPONG ALFRED ANGMOR SOLOMON K. OPOKU MENSAH A. RICHARD YEBOAH A. DERRICK ANUM AYIVOR ISHMAEL E. OSABUTEY CATHERINE A. OWUSU BISMARK 2012 DEDICTION Our expectation is that this case study will be dedicated to all potential researchers who might be embarking on this same case study and to Mr. Jamal Mohammed paved the way for us to embark on this practical research. ACKNOWLEDGEMENT We are most grateful to the Lord Almighty for strength, knowledge and wisdom granted to us in our area of study. We also acknowledge every member of our group who contributed their effort to this successful research. TABLE OF CONTENT PAGE CHAPTER ONE * BACKGROUND INFORMATION 4...
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...Surajprasad Naipaul[nb 1] 17 August 1932 (age 81) Chaguanas, Trinidad and Tobago Occupation Novelist, travel writer, essayist Nationality Trinidadian, British Genres Novel, Essay Notable work(s) A House for Mr. Biswas In a Free State A Bend in the River The Enigma of Arrival Notable award(s) Booker Prize 1971 Nobel Prize in Literature 2001 Spouse(s) Patricia Ann Hale Naipaul (1955–96) Nadira Naipaul Vidiadhar Surajprasad Naipaul (/ˈnaɪpɔːl/ or /naɪˈpɔːl/; b. 17 August 1932), is a Trinidad-born Nobel Prize-winning British writer known for the comic early novels of Trinidad, the later, bleaker, novels of the wider world, and the vigilant chronicles of his life and travels, all written in widely admired prose.[1] Naipaul has published more than 30 books, both of fiction and nonfiction, in a career spanning more than 50 years. Naipaul married Patricia Ann Hale in 1955. She served as first reader, editor, and critic of his writings until her death in 1996. To her Naipaul dedicated his masterpiece, A House for Mr. Biswas. Contents 1 Background and early life: Trinidad 2 Education: Port of Spain and Oxford, 1943–53 3 London, Caribbean Voices, marriage, 1954–56 4 Early Trinidad novels: 1956–58 5 A House for Mr...
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...American Places, American Lives Jessica Hernandez American Autobiography/ENG208 Week Two Individual Assignment October 27, 2014 Ms. Dorothy Barton Mark Twain was born Samuel Langhorne Clemens in 1835. He was raised in Hannibal, a small town on the banks of the Mississippi. In 1857, being away from Mississippi for several years, Twain fulfilled his boyhood dream by becoming a pilot on a riverboat. Growing up in Mississippi, Twain’s only ambition was to be a pilot on a riverboat (Twain, p.197). The town was drowsy in the sunshine of the summer’s morning; the streets were empty; a few clerks sat on splintered chairs outside their stores, with hats over their face while they were asleep. Nobody paid attention to the peaceful waves of the Mississippi but the town came alive when they heard a steamboat coming (Twain, p198). Twain’s focus was on steamboats and the Mississippi (particularly Walnut Bend). Twain remarked how handsome a steamboat was and his attention to detail showed his desire for the American dream of being a pilot. He focused on the architecture of the steamboat and the natural elements of Walnut Bend. “She is long, sharp, trim, and pretty; two tall fancy-topped chimneys; a fancy pilot-house, all glass and gingerbread; and a flag gallantly flying from the jack-staff (Twain, p198). This was Twain’s view of his future even before being on the boat. Along the river, Twain was able to remember every Island, town, bars, points, masses of lumber, and bends of Walnut...
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...barbed with a prairie twang, a ranch-hand nasalness, and the men, many of them, wear narrow frontier trousers, Stetsons, and high-heeled boots with pointed toes. The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them. Holcomb, too, can be seen from great distances. Not that there's much to see - simply an aimless congregation of buildings divided in the center by the main-line tracks of the Santa Fe Rail-road, a haphazard hamlet bounded on the south by a brown stretch of the Arkansas (pronounced "Ar-kan-sas") River, on the north by a highway, Route 50, and on the east and west by prairie lands and wheat fields. After rain, or when snowfalls thaw, the streets, unnamed, unshaded, unpaved, turn from the thickest dust into the direst mud. At one end of the town stands a stark old stucco structure, the roof of which supports an electric sign - dance - but the dancing has ceased and the...
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...Department of MIS, Dhaka University | WALT DISNEY DECIDES TO NAME HIS CARTOON CHARACTER MICKEY | Term Paper on a topic from 75 greatest decision ever made | Acknowledgement I would like to express my deep gratitude to Mr. Ashis Talukder, Assistant Professor, Department of MIS, Dhaka University for his patient guidance, teaching Decision Support System in fall, 2013 session. I would like to mention that under his supervision, I have gone through a number of interesting topics that made me curious to study on 75 greatest decision ever made. I have chosen a topic for this term paper where I have put some extra effort to know in details. I would also like to extend my thanks to the Mr. Ashis Talukder for helping us to explore greatest and worst business decision ever made Finally, I wish to thank my parents for their support and encouragement throughout my study. Table of Contents Introduction 4 The 75 Greatest Management Decision Ever Made 5 A Great Decision for Term Paper 8 Background of the Decision 8 How This Decision Benefited 9 The Greatest Lessons 10 Conclusion 10 Introduction “The essence of ultimate decision remains impenetrable to the observer—often indeed, to the decider himself. . . . There will always be the dark and tangled stretches in the decision-making process—mysterious even to those who may be most intimately involved,” said John F Kennedy. An air of mystery lies at the heart of decisions and decision making. An entire...
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...Charlie Chaplin composed his own music for City Lights (1931), Modern Times (1936) and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy...
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...Charlie Chaplin composed his own music for City Lights (1931), Modern Times (1936) and Limelight (1952). That was the exception, and few film-makers would imitate him. He wasn't clear at all whose job was to score the soundtracks. German cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy...
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...BELOVED Toni Morrison ← Analysis of Major Characters → Sethe Sethe, the protagonist of the novel, is a proud and noble woman. She insists on sewing a proper wedding dress for the first night she spends with Halle, and she finds schoolteacher’s lesson on her “animal characteristics” more debilitating than his nephews’ sexual and physical abuse. Although the community’s shunning of Sethe and Baby Suggs for thinking too highly of themselves is unfair, the fact that Sethe prefers to steal food from the restaurant where she works rather than wait on line with the rest of the black community shows that she does consider herself different from the rest of the blacks in her neighborhood. Yet, Sethe is not too proud to accept support from others in every instance. Despite her independence (and her distrust of men), she welcomes Paul D and the companionship he offers. Sethe’s most striking characteristic, however, is her devotion to her children. Unwilling to relinquish her children to the physical, emotional, and spiritual trauma she has endured as a slave, she tries to murder them in an act that is, in her mind, one of motherly love and protection. Her memories of this cruel act and of the brutality she herself suffered as a slave infuse her everyday life and lead her to contend that past trauma can never really be eradicated—it continues, somehow, to exist in the present. She thus spends her life attempting to avoid encounters with her past. Perhaps Sethe’s fear of the past is...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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