Manage finance and budgets :: essays research papers

Pre-amble Custometal Pty Ltd has been trading since 1992 under a couple of different names before becoming a proprietorship in 1998. Since its conception in 1992 it has been with the same owner and trades today as a sole proprietorship. Custometal’s customers consist of the construction industry across Melbourne. Custometal is what is known in the industry as a metal work sub-contractor, with our scope of works basically consisting of custom fabricating all metal items excluding structural steel and items that can be mass produced. Custometal’s company structure consists of 1 general manager, 2 accounts staff, 2 estimating staff, 1 foreman, 2 leading hands and 16 tradesmen, 4 labourers and one apprentice. Being a trade based company; really what we are selling is the time and skills of our workforce more then a physical end product of their labour. 1.0 Introduction Being a trade based company; Custometal’s budgets are not as easy and strait forward as those of manufacturing, retail or even most services companies. Like most companies, we have sales targets, administration budgets, and services budgets that can be fixed, but our workshop budgets and production-based budgets rely heavily on the amount of contracts we have and the type of products we have to supply. The flow of Custometal’s budgets like most are circular, therefore it is difficult to talk about communication of budgets without talking about reporting procedures and how activities are controlled and monitored. The production cycle of our products starts with the estimating department, once the contract is awarded, the estimating department communicates the budget to the production staff who intern communicate the budget to the tradespeople. With the aid of the accounts staff, the production staff monitor and control the budget though the production cycle and report the outcomes back to the estimating department and the general manager and this analysis is used by the estimating department to refine quoting procedures and formulate estimates for simular jobs. 2.0 Roles of the departments 2.1 Estimating Department The estimating department is responsible for formulating production budgets by providing quotes to Custometal’s customers. By submitting quotes, the estimating department enters into a legal agreement with the customer where they are agreeing that if a contract is awarded to Custometal, we will undertake the works at the price stated. The quote and the documentation provided by the customer become legal documents stating the following:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The product on offer – Tender documents are a package that includes a scope of works, written specifications of the product, requirements such as Australian standards to conform with and conditions that the product has to stand up to, detailed drawings and bills of quantities.

Describe the qualities in the young Beowulf and later in Wiglaf, that make them stand out as warrior heroes

Beowulf's sea journey and arrival into Denmark is expressed with potent dramatic splendour and magnitude. The immediate realisation of our being introduced to a character of great consequence is shared by the Shieldings' watchman and highlighted with Heaney's colourful adjectives and powerful imagery. Before Beowulf has even spoken or been addressed, we have heard that ‘there was no one else like him alive / In his day he was the mightiest man on earth high-born and powerful. ‘ Travelling on a boat ‘loaded' with ‘a cargo of weapons' and ‘shining war-gear' is indicative of a feat these men are about to undertake. When the watchman witnesses their arrival, he is astonished most by Beowulf's physical appearance: ‘Nor have I seen a mightier man at arms on this earth'. Throughout the poem this is a recurring theme as we are delivered countless images of his physical strength including his ‘handgrip' ‘harder' than that of ‘any man on the face of the earth' when in battle with Grendel and his use of the sword ‘ so huge and heavy of itself only Beowulf could wield it in battle' during his combat with Grendel's mother. Such repetition of course was a key feature in the oral tradition of Anglo-Saxon poetry to establish their important attitudes and values, and Heaney has ensured this is maintained in his translation. We cannot however, award the young warrior heroic status merely as a result of his overwhelming brute strength, both by modern standards and more importantly those of the Anglo-Saxons, there were numerous other qualities required to fulfil this role. The Germanic heroic-code went a long way to defining the system of valuing and honouring its peoples including warriors, kings and ordinary citizens. For a man to be considered a warrior he must obey the code and to be classed as a heroic-warrior ought to exceed its expectations. As mentioned above, strength most certainly was present within this code, along with courage, loyalty and reputation. When the young Beowulf and Wiglaf are examined according to the code, their behaviours as described to us by the poet and as validated by other characters within the epic, confirm that they clearly adhere to its requirements. The importance of reputation is closely linked with that of lineage, few characters are described without reference to their fathers or their ancestors, when Beowulf introduces himself to Hrothgar he says ‘I am Hygelac's kinsman'. In order that he may be permitted to enter Hrothgar's kingdom and embark upon the task of restoring peace and order within Denmark, he must be accepted by the king ‘my one request is that you won't refuse me'. This form of introduction is echoed later when the young Wiglaf is described as ‘a son of Weohstan's' ‘well regarded' and ‘related to Aelfhere'. In terms of personal reputation, we understand that Beowulf has already established an element of fame within Geatland when he relays to the king: ‘I have suffered extremes and avenged the Geats' his modesty is apparent as he resists the need to elaborate on his acts of heroism confining himself only to convey the essential details. He only begins to boast of his accomplishments in a swimming contest against Breca when Unferth questions his motives for participating. Unferth is presented as a foil to the heroic Beowulf, the poet informs us that he is ‘sick with envy' but his own bitterness and inferiority is exposed and Beowulf's virtues accentuated as the latter is able to articulate an intelligent and composed response: ‘it was mostly beer that was doing the talking' ‘I was the strongest swimmer of all'. Again Heaney encompasses powerful adjectives, ‘perishing', ‘deep boiled', ‘mangled' into Beowulf's speech, closely adhering to the traits of Anglo-Saxon poetry and successfully winning over the reader and ensuring ‘the crowd was happy'. Where Beowulf has established and proceeds to heighten his fame, we see the young Wiglaf at the beginning of his journey to achieve the same. It is impossible to overlook his role in the execution of the dragon and in such a feat we can draw parallels with the young warrior Beowulf. Equally as important as strength and reputation in the heroic code is loyalty which is highly evident in both our young warriors. Of course it his loyalty to Hrothgar that brings Beowulf to Denmark to engage in battle with Grendel and in part a repayment for a debt once settled by the king for Beowulf's father, having ‘healed the feud by paying'. Wiglaf could almost be considered an epitome of allegiance when we later see Beowulf entering into combat with the dragon, taking with him eleven of his assumed most faithful and greatest warriors and only Wiglaf remains by his lord's side whilst the others, ‘that hand picked troop broke ranks and ran for their lives'. Wiglaf's entrance is reminiscent of that of Beowulf as Heaney uses a powerfully emotive introduction: ‘But within one heart sorrow welled up: in a man of worth the claims of kinship cannot be denied'. Wiglaf has an acute understanding of loyalty being imperative to the heroic code, when he rebukes Beowulf's men who fled from battle he affirms that they have ‘disgraced' themselves and that ‘A warrior will sooner die than live a life of shame. ‘ Such devotion could only be demonstrated by one who was equally courageous, Wiglaf was willing to sacrifice his own life for his lord and their peoples and of course, this is the exact behaviour which earned Beowulf his worthy right to the throne and his sound reputation. Recognition of the young warriors' heroic deeds and attitudes is not limited to the poet and the modern day reader or Anglo-Saxon listener, the poet assures us that Beowulf was rewarded for his actions, ‘furnished' with ‘twelve treasures' ‘gold regalia' and many other gifts by the king. However, it is important to consider heroism as being subjective and that it should be measured within its context both in terms of history and religion. Whilst Pagan beliefs would have viewed the vengeful and murderous nature of the heroes necessary to conform to the heroic code, such behaviour severely contravenes the principles of Christianity. We must also understand that Beowulf as with all the warriors illustrated within the poem, were human and thus fallible, their being at the mercy of God's will or fate. We must also reserve judgement for the young Wiglaf as we have yet to see him in battle alone and whilst the limited behaviours we do observe in him are commendable, we cannot assess him in the same way as Beowulf whose character has been developed to a much greater extent within the poem.

Interpretation Of The Translation Of Dante s Divine Comedies

Whenever we approach a written piece that has been translated from its original work we are faced with the challenge of determining whether or not this translation embodies the true spirit of the work and its original intention. Since a translation is a form of interpretation, we run the risk of the translator assuming that the author used certain word choices to convey a specific meaning, which could lead to an incorrect interpretation of the work based on the translator’s bias. In reference to Dante’s Divine Comedies unless we can read the original Italian words, we are dependent on the translator’s interpretation of Dante’s words to guide us on the correct path of analyzing the literature. This leaves lots of room for error and miscommunication which could lead to the wrong understanding of the allegorical purpose of this poem. However, without the help of translators and the ridiculous amount of time and effort they put into a translation, everyday peo ple who don’t speak these languages would never have access to these wonderful works of art and would never be able appreciate the classic literature from other cultures. With this in mind, we turn to the difficult choice of trying to find the best translation depending on the audience that will be reading the Inferno. There are numerous ways to translate Dante’s work and interpret the underlying meanings, so for each audience, it is important to think about why they are reading the Inferno in the first place and whatShow MoreRelatedThe Is The Scientific Study Of Demons2584 Words   |  11 Pagesand malevolent in nature. The original sense of such demons came from a time originating during the 9th Century B.C.E coined by the Greek author Homer. Homer stating in his works labeling the entities as Daemon or Daimon depending on the rough translation. Demons or evil spirits may belong to either a class of spirits or in some viewpoints a denomination seen as a primeval version of animism. This being said the demon may be seen as a human or non-human manifestation either in forms of separateRead MoreEssay about The Portraiture of Women During the Renaissance1801 Words   |  8 Pagesfashion and more (Brown, 2003). Next, it will include analysis from the two female portraits of Leonardo de Vinci’s Ginerva de’ Benci and Sandro Botticelli’s Portrait of a Lady. First, I will explain what portrait means and then represent my own interpretation of Botticelli’s Portrait of a Lady by referring to instructional â€Å"activity dialog† that details how to analyse the body’s subject in the portrait (Mckennee et al., 1994). Second, I will discuss how the Renaissance ideal perception of the women’sRead MorePurgatorio Essay4430 Words   |  18 Pageslearn about love and free will, perhaps the two principles most important to an understanding of the whole of the Comedy. Because our modern novelistic tradition of structure has led us to expect our plots to be arranged climactically, we tend to find this kind of geometric construction artificial and surprising, even though the practice was fairly common in medieval literature. Dante had himself already experimented with this kind of structure in La Vita Nuova. La Chanson of Roland, to cite another