Domestic Violence: Most Underreported Crime In America :: Violence Against Women Essays

Found at the scene of the crime two dead bodies stabbed brutally, and left to die at their house. This was the story that shocked the country in 1991. This was the start of the O.J. Simpson domestic abuse case. Unfortunately events like this happen many times over everyday in many setting all over the United states; however the victims of the other cases don't get nearly as much publicity. Some facts about domestic abuse: An average of nine out of 10 women have to be turned away from shelters on. The reason so few cases get assigned initially is the police usually don't have enough officers to meet the demand At the Portland Women's Crisis Line, where calls have doubled since the killings of Nicole Simpson and Ronald Goldman, they welcome the increased attention. From July 19,through March 31, 1993 a total of 3,665 domestic violence cases were reviewed in Portland Oregon. Of those, only 281 cases resulted in some action taken against the accused abuser. Some of this is because there is not enough police, but it is mostly because the abused person is scared. For the last six months of 1993 and the first three months of 1994 Portland averaged about 1,000 calls each month or 12,000 calls a year. In January 1992, 30 criminal domestic violence complaints were issued. For January 1994, the number was more than 100. Nationally, estimates range from 2 to 4 million women assaults each year. Some studies show that 20 to 30 percent of all women who seek help at hospital emergency rooms are there because of domestic violence. Kyra Woods never made it to the emergency room. Whoever killed her saw to that. She suffered 13 stab wounds to the back five of them so violent the knife came out the other side of her body. Wood's mother, Mable, and two aunts wept quietly in a back row of the courtroom as the prosecution argued against bail for Woods' former boyfriend Jackson. Rod Underhill, the prosecutor, painted a picture of domestic violence. He told of a dramatic moment after the killing, when Woods' 4-year-old son, holding a teddy bear, re- enacted the attack. "He put his hands around the neck of the bear and shook it," Underhill said. "He began to pound it with a closed fist and slug it." Mable Woods said that her daughter never told her much about any abuse. Neighbors, however, told police of hearing the couple fight violently. According to police reports, one neighbor said, "They fought so hard the pictures on the wall shook back and forth.

Holmes presents us with a world view that is imminently sane, secure :: Free Essay Writer

Holmes presents us with a world view that is imminently sane, secure and predictable - the very antithesis of what Doyle found in his own life and what we often find in ours. Sherlock Holmes Coursework (rough draft) Q. What writing techniques that Sherlock Holmes utilized made his stories so popular in the 1890s What I can tell you about his style is that Conan Doyle writes in a very baroque style, that I had some difficulty following, but when analyzed I can tell you everything you need to know about what he used to make his writing distinct at that time Holmes presents us with a world view that is imminently sane, secure and predictable - the very antithesis of what Doyle found in his own life and what we often find in ours His deductions are drawn from what seems to us as obvious, but we could never dream of ever attaining such high powers of observation What Conan doyle does to differenciate himself from other authors is a method which I noticed in almost every single mystery of his that I have read. Instead of praising his character within the story by just commending him on merely one heroic action which he had previously done and then maintaining this by simply making the people around him seem stupid to accomplish superiority in one character, which is what most mystery authors do, Conan Doyle takes the good way out by using his own mind to maintain the mastermind creation of Sherlock Holmes's clever analysis and without just deducting intelligence from all the character surrounding him. You become immersed in a world of dimly lit gas lamps, shadowy motives and events, and the quest for understanding. Conan Doyle's strength is perhaps in his participation in the Victorian (and Modern) desire for answers in the face of increasing doubt and confusion. He shows that answers to mysteries are never quite solvable by reason and rationality. Rather, the key to solving a mystery is by inevitably stumbling upon the solution, and then making it look as if one arrived at it through orderly reasoning Holmes's adventures are to me fascinating; revealing as they do the dark underbelly of Victorian society and many of them would create lurid headlines were they to actually occur today, even Holmes himself is not free from scandal when he is revealed by Watson to be of all things, a cocaine addict in "A Scandal in Bohemia". From his battle of the sexes with the resourceful adventuress Miss Irene Adler in, A Scandal in Bohemia, to his foiling of the criminal intentions of the "fourth smartest man in London" in the truly bizarre

Coca Cola Design and Branding Essay

The Coca-Cola contour bottle is one of the brand’s key icons and is the symbol of the brand’s authenticity. It was developed in 1916 to create a distinct identity for the brand in consumers’ minds and to protect the brand from being imitated by competitors. Today it represents the very essence of the brand’s identity in the marketplace and remains instrumental in differentiating the brand from all other competing products. The familiar shape of the Coca-Cola bottle and the flowing script of its trademark are the world’s most widely recognised commercial symbols. Coca-Cola is recognised by 94 percent of the earth’s population. The Coca-Cola trademark incorporates a number of elements which have become synonymous with the brand. These include: the Coca-Cola red and white graphics, Brand name written in the universally known Spencarian Script, the famous countour shape of the Coca-Cola bottle. Together, these elements are instrumental in differe ntiating Coca-Cola from all other competing brands. The packaging of a product serves a number of functions. At the most basic level, it contains and protects a product. However, packaging is also an important marketing tool. It is critical in describing a product, attracting consumer attention and differentiating the product from competitors. The Coca-Cola contour bottle is perhaps one of the most unique forms of product packaging. While it was originally introduced as a means of protecting the brand from imitation, it is now the most central part of the Coca-Cola brand identity. The bottle communicates the uniqueness, originality, superior refreshment and enduring values of the brand. A market research survey was carried out to examine consumers’ attitudes to the contour shape. In this survey, consumers described the contour bottle as communicating a variety of positive meanings. It was seen as: a symbol of the ultimate enjoyment and refreshment from Coca-Cola, possesing a sensual look and feel, a symbol of good times, universally known and universally accepted, a symbol which unites consumers around the world, an aesthetically beautiful symbol. So important is the contour shape in the marketplace, that it is now the core element of Coca-Cola’s consumer strategy. This has become known as the ‘Contourisation Strategy’. The objectives of this strategy are: 1. motivate consumers to purchase the Coca-Cola brand over other soft drink brands 2. maximise consumer enjoyment of the Coca-Cola product 3. create a distinct identity for Coca-Cola in the mind of the consumer. Good design makes good business sense, because it translates customer needs into the shape and form of the product or service and so enhance profitability. Design includes formalizing three particularly important issues: the concept, package and process implied by the design. The value of packaging is often seen as a paradox. Packaging plays an essential role in meeting consumer needs and preventing waste by effectively protecting product during delivery. The company is actively working throughout the Coca-Cola system to create solutions by advancing a global sustainable packaging strategy aimed at preventing waste over the life of their packaging. The company’s focus is on eliminating all raw material, energy and water losses across the entire packaging process chain-from the initial resources used to make a package through to the consumer and beyond. Today company’s goals focus on four priority areas foe effectively preventing waste: optimizing packaging effeciency, increasing renewable resource use, recovering packages for reuse and increasing recycled material use. With the issues of environmental protection becoming more important, both process and product/service designers have to take account of ‘green’ issues. The Coca-Cola company strive to be the most environmentally efficient user of high-quality, consumer-preferred packaging in the beverage industry. Their packaging innovation teams continually explore new ways to reduce the amount of material and energy used in their packaging without sacrificing quality or transferring waste. All of their major packages have seen significant material reductions since their initial introductions. In 2008, the Coca-Cola system made progress in packaging tracking and incremental and breakthrough advances in packaging efficiency. They focus the majority of their material reduction innovations on the packaging they use most-PET, glass, aluminum and fountain. Fountain beverages-one of their oldest and most efficient package delivery systems-account for 12 percent of their global unit case volum e. In 2008, they worked to further optimize the packaging efficiency of their fountain beverages by developing even higher syrup concentrations, commercializing a new cold, compostable beverage cup, and supporting commercial copmosting initiatives. Approximately 85 percent of the company’s global beverage volume is delivered in recyclable bottles and cans. To realize their long-term sustainability aspirations, the recovery of these containers and their materials for reuse is critical. The company’s goal is to increase this recovery to 50 percent by 2015. In order to do so, they focus primarily on advancing four core packaging recovery models:comprehensive product stewardship programs in developed markets; recycling cooperative programs in developing and emerging markets; voluntary deposits on refillable packages in least-developed markets; and Coca-Cola-operated recycling enterprises globally. A key to driving recovery is ensuring that market demand for collected materials is strong. The Coca-Cola system helps foster this demand by advancing sustainable technologies that enable greater use of recycled content material in their packaging; purchasing products made from recycled beverage packaging; and enhancing the efficiency of their refillable bottles. The Coca-Cola company has strong supply network design. The company sells the concentrates and syrups for bottled and canned beverages to authorized bottling and canning operations. The bottlers produce the final drink by mixing the syrup with filtered water and sweeteners, and then carbonate it before putting it in cans and bottles, which the bottlers then sell and distribute to retail stores, vending machines, restaurants and food service distributors. Most of the products are manufactured and sold by the bottling partners.The company sells concentrates and syrups to the bottling partners, who convert them into finished packaged products which they sell to distributors and other customers. The Coca-Cola company makes their branded beverage products available to consumers throughout the world through their network of bottling, partners,distributors, wholesalers and retailers-the world’s largest beverage distribution system. The positioning of the product in the supermarket is one of the most important things for the companyâ€℠¢s customers. In retail stores, Coca-Cola puts its products in the most prominent shelf position in refrigerators. There are 10 million Coca-Cola branded machines around the world, such as: coolers, vending machines, and fountains. The company calls tha machines ‘stores within stores’ and ‘interaction points with customers’. The innovation in the equipment that company makes is: a new fountain machine that serves 100-plus different beverages; re-imagined coolers that use classic Coca-Cola design themes and 40% less energy; and fully interactive vending machines with large display screens that are both Wi-Fi and Bluethoot-enabled. The connectivity technologies will let customers download music, coupons, or other promos to their cell phones. Coca-Cola uses an innovative bottling process at its bottling plants. In order to ensure speedy bottling without compromising quality, Coca-Cola’s bottling process involves the following steps: 1. The water is filtered and cleaned with a special treatment system. A sanitiser and 180-degree Fahrenheit water is used to clean all of the equipment while the water is being prepared. 2. The syrup tank is prepared for mixing. 3. Empty bottles are placed onto a conveyor to be filled and stacked. 4. The bottles go trough a quality control process, and examined foe any defects. Approved bottles are moved forward to be rinsed. 5. The bottles are rinsed with de-ionized air to remove any particles. 6. The syrup and water are mixed in just the right ratios, and filtered carbon dioxide is added. The mixture is pored into the bottles according to a predetermined volume. 7. The bottles are stamped with a date and code, and then moved to a fill-level inspector and capper. At Coca-Cola, the bottling line was designed to fill 20 bottles per minute. However, bottling speeds vary significantly depending on the type of product being bottled, equipment, and type of bottles or cans. The good design of the company’s work environment is extrimely important to the business success. The Coca-Cola company provides a safe and healthy work environment through implementation of their Occupational Safety and Health policies and requirements. They think about their employees. The Coca-Cola Company’s Workplace Rights Policy is giuded by international human rights standards. The Policy includes: Freedom of Association and Collective Bargaining, Forced labour, Child labour, Discrimination, Work Hours and Wages, Safe and Healthy Workplace, Workplace Security, Community and Stakeholder Engagement. In addition, The Coca-Cola company shows that follows all of the steps for perfect process design. The company has success, because of the creative design product, strong supply netwotk design, high control of the process technology and providing the perfect working environment, because they care about the employees.

Essay – University Entrance Requirements

Essay 1. University entrance requirements are much more lenient than they used to be – some university courses are prepared to accept students without any A-levels. Last twenty years was a time of ongoing changes in the higher educational institution. One of the most controversial and criticized idea was the withdrawal of the entrance exam at all universities. It had caused a serious debate about the importance of high standard on the one hand and the equality in obtaining educational levels on the other hand.However, there are three main reasons why university entrance requirements are much lenient that they used to be. These are education reform, population decline and economy. Firstly, the politics decided to carried out an education reform. Their motivation was to facilitate the access to higher education and control better student’s improvement. As a result, there were no more entrance exam and the matura exam started to be the most important test which decided whe never student have a chance to go into university or not.This strategy should create an equal possibility, because the exam has very strict rules, procedure and it’s the same for all Polish students. Unfortunately, when we creating an ideal exam for everybody we need to consider that the level is always lower than it used to be on the entrance exams. Consequently, it is easier to get into university. After the huge education reform, another problem occurred. The predicted population decline has come out and created unstable situation in educational institution. The great amount of students, that teachers and professors were used to, suddenly had vanished.Year after year, there is even less students to teach. Consequently, less teachers are needed and everybody is afraid of losing their job. Because of this, universities change their strategies by lowered the level of entrance requirements and accept almost everyone. It create a situation when not only the brightest can entere d into higher education but also the lazy ones who doesn’t even care about learning. The last reason surely dominates the education system. Nowadays, it is the money which rules higher education and let everyone who pays to gain a master degree.As I mentioned before, there are less students, but universities need them to exist, because each learner is a certain amount of money. As a result, some courses accept even more students that they should. In that case, universities are constantly cheating on their clients and just churn out obedient students. What is more, there exist many private school which offer the same courses as on the university, but often don’t require positive matura results or good grades. If you pay the rent, the possibility to obtain quickly a bachelor or master degree is almost certain.In general, it is much more easier to get into university that it used to be. However, it is the only positive point of it. Unfortunately, our education system isnà ¢â‚¬â„¢t appropriate for this century. The equal matura exam took all the power from entrance examiners at the universities. The small number of students destroyed all the competitiveness in obtaining higher education. Also, the economic issue create a situation when an university degree is so easy available that people with a Bachelor or Master degree aren’t respected enough. In other words, universities should focused on the quality not on the quantity.

Festival at the Village

[pic] FESTIVAL AT THE VILLAGE T/A â€Å"[email  protected] – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artist ic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman from Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old.Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfini shed job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"[email  protected]†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province.[email  protected] seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. [email  protected] will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of [email  protected] ConceptA three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of [email  protected] – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at [email  protected] as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home.The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facili tators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream.Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at [email  protected] in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed.In its purest form, both the actors and spect-actors will be peopl e who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets.[email  protected]: ? To be an annual therapeutic and edutaining artistic platform. [email  protected] – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society . ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development’s value of partnership in working together with civil society, business, academia and the international community. [email  protected] – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to ha ve a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 2013 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |[em ail  protected] Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |[email  protected] First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] Festival at the Village [pic] FESTIVAL AT THE VILLAGE T/A â€Å"[email  protected] – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artist ic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman from Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old.Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfini shed job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"[email  protected]†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province.[email  protected] seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. [email  protected] will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of [email  protected] ConceptA three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of [email  protected] – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at [email  protected] as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home.The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facili tators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream.Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at [email  protected] in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed.In its purest form, both the actors and spect-actors will be peopl e who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets.[email  protected]: ? To be an annual therapeutic and edutaining artistic platform. [email  protected] – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society . ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development’s value of partnership in working together with civil society, business, academia and the international community. [email  protected] – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to ha ve a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 2013 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |[em ail  protected] Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |[email  protected] First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic]

Acct1101 Exam Final Sample

Venue____________________ Seat Number________ Student Number|__|__|__|__|__|__|__|__| Family Name_____________________ First Name_____________________ Venue____________________ Seat Number________ Student Number|__|__|__|__|__|__|__|__| Family Name_____________________ First Name_____________________ This exam paper must not be removed from the venue School of Business SAMPLE EXAMINATION ACCT1101 Account for Decis Making This paper is for St Lucia Campus students. For Examiner Use Only QuestionMark 1| | 2| | 3| | 4| | | | MCQ| | | | | | | | | | | | | | | | | | | | | | | | | | | | | |Total For Examiner Use Only QuestionMark 1| | 2| | 3| | 4| | | | MCQ| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Total Examination Duration:120 minutes Reading Time:10 minutes Exam Conditions: This is a Central Examination This is a Closed Book Examination – specified materials permitted During perusal – write only on the rough paper provided Materials Permitted In The Exam Ve nue: (No electronic aids are permitted e. g. laptops, phones) Any unmarked paper dictionary is permitted Calculators – Casio FX82 series or UQ approved (labelled) Materials to Be Supplied To Students: x 14 Page Answer Booklet Rough Paper 1 x Multiple Choice Answer Sheet Instructions to Students: * Answer all questions using the writing book and the Multiple Choice Answer * Sheet provided. * This sample exam is intended to be an indication of the content of the main and final exams. It is not intended to be a complete indication of the content of the supplementary exam, as this exam also assesses all course content Question 1 Go Stop Limited is preparing its budget for the quarter beginning 1 January 2013. The bank balance at 1 January is expected to be $10,000,000.The directors have a policy to purchase just enough to cover that month’s expected sales. Purchases are to be paid for by the end of the following month. Sales are on credit as follows: Receipts:| | Current m onth| 60%| month before| 30%| 2 months before| 10%| Total| 100%| | | Budgeted Sales are: $,000| $,000| $,000| $,000| $,000| November| December| January| February| March| 46,800 | 48,000 | 50,000 | 52,000 | 56,000 | The firm’s gross profit margin is 30%. The following fixed monthly expenses are all paid on cash terms ($, 000): Wages| 15,000| Rent| 6,000| Rates| 3,000| Insurance| 1,500|An expensive piece of equipment was paid for in February, costing $1,200,000 Required: 1) Prepare the company’s cash budget for the three months beginning 1 January showing the balance at the end of each month. Show workings. Use the proforma cash budget sheet that follows 2) Advise the management on the forecast cash position 3) Advise management of the importance of Cash Management Answer Sheet: Go Stop Limited | January| February| March| Total| | $,000| $,000| $,000| $,000| Receipts:| Â  | Â  | Â  | Â  | | Â  | Â  | Â  | Â  | Total Cash receipts| | | | | | | | | | Payments:| | | | |DO NOT WRITE ON THIS PROFORMA IN THE EXAM:USE AS A GUIDE ONLY AND WRITE YOUR ANSWER IN THE NORMAL GREEN ANSWER BOOKLET| | | | | | | | | | | | | | | | Total cash payments| | | | | | | | | | Net cash flows| | | | | | | | | | Opening Bank Balance| | | | | Closing Bank Balance| | | | | Question 2 Given below is a table that sets out the annual budgeted income statement for a large clothing retailer, together with actual performance figures. The retailer has several stores located all over Australia and New Zealand. Sales are made directly over the counter and also by mail delivery Income statement| for year ended 30 June| Budgeted $,000| Actual $,000| | | | Sales| 4,200,000| 5,000,000| Cost of sales| 3,640,000| 3,430,000| Marketing| 12,000| 40,000| Distribution costs| 10,000| 23,000| Administration costs| 213,000| 316,000| Interest expense| 104,000| 110,000| Abnormal expense| 0| 25,000| Net profit| 221,000| 1,056,000| Required: i. Calculate the variances for each item and state whet her they are Favourable (FAV) or Adverse (ADV) ii. Comment on each variance in light of the information given about the company and suggest further investigation that will be necessary to better ascertain the cause of these variances iii.Comment on the company’s overall performance during the year and discuss the key areas that the business should be considering Question 3 James Wilson, process engineer, had been given the task of redesigning an existing process to improve environmental performance. He knew that the acceptance of a more environmentally efficient process would depend on its economic feasibility. The process design required new equipment and an infusion of working capital. The equipment would cost $450,000 and its cash operating expenses would total $90,000 per year.The equipment would last for seven years but would need a major overhaul costing $45,000 at the end of the fifth year. At the end of 7 years, the equipment could be sold for $30,000. The annual depr eciation for this equipment using the straight line method would be $60,000. An increase in working capital (Current Assets – Current Liabilities) totalling $45,000 would also be required at the beginning. This would be recovered at the end of seven years. On the benefit side, James estimated that the new process would save $202,500 per year in environmental costs by eliminating fines and clean-up costs.The cost of capital is 10%. Required: 1. Prepare a schedule of relevant net cash flows for the proposed project. 2. Calculate the NPV of the project. 3. Should the new process design be accepted? 4. What factors should James consider other than environmental ones when deciding whether to go ahead with this project? Question 4 Sailaway Limited is a small yacht builder. It has operated successfully for many years from a factory that allows for production of 40 yachts per year. In most years the company can sell all the yachts it can produce. The selling price of each yacht is $1 2 600.Variable labour and materials costs are $7 750 per yacht, and the fixed costs associated with running the business from the present factory are $58 200. The company's directors are meeting to discuss a proposal to increase the business's production capacity. A neighbouring factory has become vacant and it would be possible to rent the additional space in order to produce more yachts. The additional capacity in terms of production would be 20 yachts. The sales director is confident that, with the growth in the leisure yachting market, he will be able to sell the additional yachts.Variable costs per yacht will remain the same because the same labour and materials are used. However, the expansion would produce an additional $14 550 in fixed costs. Required: 1. Advise the company’s directors on whether to go ahead with this proposal 2. What would be the break even in number of yachts: a. Without the proposal b. With the proposal 3. What is the margin of safety in number of yachts and percentage of yachts c. Without the proposal d. With the proposal From this comment of which is the riskiest alternative Multiple choice questions:Answer these questions on the separate multiple choice answer sheet Each question carries one mark 1. One of the approaches to setting budgets is known as the ‘top down' approach. This is best described as: A| production budget set first and working from this to other budgets. | B| setting the sales forecast and working from this to other budgets. | C| budget targets set by senior management. | D| budget targets set at the lowest level of management. | 2. High operating gearing refers to: A| an activity with relatively high variable costs compared with its fixed costs. B| an activity with relatively high fixed costs compared with its variable costs. | C| an activity with relatively low fixed costs compared with its variable costs. | D| an activity with fixed costs equal to its variable costs. | 3. The decision rule for th e accounting rate of return method of assessing investment projects is to accept all projects with: A| a positive return. | B| the highest return subject to a minimum required return. | C| the highest return. | D| none of the above. | 4. A disadvantage associated with the use of the accounting rate of return method for assessing investment opportunities is:A| it is a method that is not widely understood by business. | B| it is based on an accrual approach rather than cash flows. | C| it ignores the time value of money. | D| B and C. | 5. The time value of money is an important concept in investment decisions as it takes into account that: A| a dollar received tomorrow is more valuable than a dollar received today. | B| a dollar received today is equal to a dollar received tomorrow. | C| it takes time to earn profits. | D| a dollar received today is more valuable than a dollar received tomorrow. | END OF EXAMINATION

Boston Chicken Case

Boston Chicken implemented a franchising strategy that differed from most other franchising companies at the time. Boston Chicken focused its expansion through franchising the company through large regional developers rather than selling store franchises to a large number of small franchisees. In that, an established network of 22 regional franchises that targeted their operations in the 60 largest U.S. metropolitan markets and in order to do so, the franchisee would have been an independent experienced businessman with vast financial resources and would be responsible for opening 50 – 100 stored in the region. Boston Chicken focused on widespread continuous expansion of its operations to become to developed across the board food chain. Scouting for real estate assured the highest standards for developing properties and was critical to the company’s future success. To assist in future growth of the franchises, Boston Chicken implemented a communications infrastructure, which provided a supporting link for communication between its networks of stores. In addition in efforts to improve operating efficiency, the company locked in low rates from its suppliers and developed flagship stores, which did most of the initial food preparation which inadvertently reduced employee training costs. Many of these regional developers were given a revolving credit line to help support expansion. This type of financing came with credit risk while the franchises average revenue from operations were not sufficient enough to cover the expenses which raises doubt for the repayment of such loans. 2. The accounting policy of reporting the franchise fees from Boston Chicken’s area developers as revenue seemed most controversial. These franchise fees, which accounted for more than 50% of total revenue, did not represent revenues from operations. Also, the source of most of the ranchise fees came from the financing provided by Boston Chicken, the franchiser, where the money coming in was the same money that was going out. This overstated earnings of the company. Since the debentures can be converted into shares of common stock, most of the revenue from franchise fees should have been deferred. Reporting revenues that included these franchise fees his the fact the most of the franchised stores were operating at a loss, which provided a false impression to investors. While Boston Chicken, the franchiser reported a net income from operations of $24,611 in 1994, if they excluded the income provided by franchise fees, they company-operated stores would have been operating at a loss, which would have been a more accurate picture for the company’s operations and its question of having a profitable future. 3. Boston Chicken, the franchiser, reports revenue based on franchise fees (includes royalties, initial franchise development costs, interest income from area developer financing, lease income, software fees, and other related franchise fees), and company operated stores. The revenue reported on the income statement does not reflect the operating income or losses generated by the area developers, with most of these area developers operating at a loss. Since the franchiser provides financing to the area developers, it seems that consolidation of the financial statements would provide vital information to the users of the financial statements especially since the repayment of loans relies heavily on the profitability of the franchisees. Basically, Boston Chicken was not reporting the results of operations from its area developers because Boston Chicken did not have an equity position in these firms; rather their stake in these franchises was reported as debt financing. In doing so, Boston Chicken did not have to report the losses that were incurred in these operations. By manipulating the financial statements, the company gave a false impression on its future prospects of the company, allowing them to more freely raise capital through the issuance of common stock, and inadvertently inflating tock prices. 4. The balance of notes receivable from area developers as of December 25, 1994 was at $201,266. Of this amount there was no allowance for loan loss and as a result, revenues would be overstated. With the high probability of uncollectibility on notes receivable due to the majority of operating losses of the area developers, creating an allowance for loan losses would more accurately reflect the financial position of Boston Chicken. Even with just a 25% allowance for uncollectibility the company would be operating at a loss of $25,714. 5 7. In the financial information provided in the case for 1994, Boston Chicken’s Operating profit for the year was $24,611, and net earnings $0. 38 per share. In 1995 Operating Profit for the year increased to $67,238 and net earnings to $0. 66 per share. Boston chicken continued to recognize profits in 1996, but was forced to amend its reported profits in May of 1997 due to improperly stating revenues. In 1998 the company files for Chapter 11 Bankruptcy and was subsequently purchased by McDonalds Corporation in 2000. As seen in Table 1 on the following page, it seems that since around the 2nd Quarter in 1997 to mid 2004 the stock price of the plummeted from around $50 per share to under $1 per share. At the time the stock price dropped drastically to $0. 00010 per share. In 2007, the company was sold to Sun Capital and went private. 6. After the company filed for bankruptcy, the stock price took a huge hit. In 1999 the company searched for a buyer as its stock price continued to steadily decline. As you can see in Table 1, trading volume drastically fell during the 1999 – 2000 period, and showed an increase in 2000 when McDonalds Corp purchased the company.