Great Expectations Essay Example for Free

Great Expectations Essay The audience have witnessed the pursuit, and had a brief glance at the face of the convict they have seen the airborne geese above the marshes, and they want to know what will happen When examining the film, one has to regard the social context in which the film was made. Leans version was created the year after the Second World War. People would probably need their morale boosted after the six years of conflict, and the film was probably intended to make people feel happier. In the closing stages of the Lean film, Pip meets Estella in Miss Havershams house. He pulls down the curtain, lighting the room, and shouts at Estella look around you death and decay you do not belong here you must get away from this place come with me into the sunlight. I believe that this is a metaphor; death and decay is the war and Estella represents the people of Britain. They can come out into the sunlight, and leave the war behind them. Lean is reminding the audience that they can forget the war, and go on to lead new lives. Lean also attempts to put across a moral message. When Pip is a child his conscience speaks to him and the audience. As he makes his way downstairs to steal the food there is a voice whispering, wake up Mrs. Joe, wake up Mrs. Joe, wake up Mrs. Joe. This effect does appear in the original text, every crack in every board calling after me stop thief! and Get up Mrs Joe. A similar device is that of the talking cows. Lean uses this, but again, Marchant decides not to, preferring a more realistic approach. The cows provide an element of humour in the film, but I feel that in the book they were included mainly to give the audience a glimpse of Pips conscience and not to provide comedy. This also gives the film a touch of originality. Before the 1940s a large amount of film sound was simple and ill-conceived the audience saw a car, therefore the audience should hear a car. Consequently, when the audience saw a cow, they were probably expecting to hear cow, not a human voice. Now, however, in an age when talking animals appear in most childrens television programs, the modern audiences are not likely to be surprised by the effect. Another aspect to take in consideration is the media for which the productions were originally created. The BBC version was written for the television, bringing the characters into the home. I assume that Leans film was originally created for the cinema. Lean shows this in many ways. The modern audience can recognize that aspects such as the silhouetted gibbets would have a greater impact when shown on the large screen. Both films are set many decades before the dates they were made, and neither audience had experiences of the period in which the story was set. Marchants version is an attempt at an accurate historical representation of the Victorian age. I feel that Lean decided to concentrate more on storyline, and the following of Dickens text rather than being fixated in creating an accurate historical representation of Victorian Britain. Dickens had written from his own first hand experience of the era, so he knew what had happened. The descriptions of the characters in the text are very precise, and Lean has concentrated on creating the individuals that Dickens described. This is probably what the audience would expect. The post-war audience would want to look back on the age of empire in the way that Dickens did, but in the 1990s, a new approach is expected by the increasingly changing audience. Dickens is generally considered as boring and tedious, and the Marchant film attempts to give a fresh, 20th century makeover to one of Britains most celebrated authors. To conclude, I feel that, considering the circumstances in which it was made, Leans film was the more successful of the two. In post war Britain there was not a huge amount of money for making films, and there was limited technology available for the production. Materials were expensive and scarce, and could not be easily obtained. The film manages to make the opening sequence terrifying, exciting and tense, without using excessive violence or disturbing images. It manages to portray the novel in a realistic way, and his storyline is truer to the original than the BBC version. Sonya Shah Page 1 of 4 Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Great Expectations section.

Breach of Contract Example

Breach of Contract Example The purchase and sale agreement signed on August 1st 2014, between Insurance Depot Limited (Depot) and Mr. Sanford (Sanford), is a legally binding contract. As a result, Depot will be able to effectively enforce its contract with Sanford by taking legal action. Depots contract with Sanford satisfies the necessary elements of consideration, consensus, intention, legality, and capacity: Consensus There was a written agreement that was signed by both parties. This is proof of an offer and signed acceptance. Consideration Sanford sold his business for $1.4 million to Depot this is an exchange. Intent Intention is presumed in commercial transactions such as the sale or purchase of a business. Capacity and legality There is no evidence to suggest that either party lacked capacity, and both were represented by legal counsel. There were no signs of illegality in the contract. Because the contract satisfies all major elements outlined above, it is enforceable under the rules of contract law. What will be the likely result if they go to trial? If they go to trial, Depot must successfully demonstrate that Sanford breached at least one of the provisions of the contract. The contract outlines one major restrictive covenant: a non-competition clause. In this case, Depot can sue Sanford for breaching the non-competition provision of the purchase and sale agreement. The non-competition clause is legally enforceable as it is reasonable, and it does not contradict public policy. The clause is also clear and unambiguous. It is specific as it denotes the time frame of five years and geographical range of one hundred kilometres that prohibit Sanford from engaging in the business of insurance brokerage. In order for the clause to be enforceable, these constraints need to be considered reasonable. The geographic and time-based restrictions are assumed to be reasonable in this case. Sanford violated the non-competition clause by opening his new insurance brokerage only two blocks away from Depot. Sanfords breach of the non-competition clause effectively gives Depot the right to claim damages. In order to be entitled to a remedy, Depot must prove in a court of law that Sanfords breach of contract adversely affected Depots business profits. Depot could then be awarded financial compensation (pecuniary damages) for the lost potential business. In addition, Depot may also be entitled to the equitable remedy of an injunction on Sanfords new business. This would mean Sanford would have stop business operations until the five-year time span has elapsed, allowing Depot to establish itself as a major industry player in the area. In terms of solicitation, Sanford did not actively solicit customers these customers chose to switch to Sanfords new firm at their own will. If the contract did include a non-solicitation clause, Depot would likely be unsuccessful in taking legal action with regards to it.   Depot should focus its legal efforts solely on the breach of the non-competition clause. Should Depot sue with respect to the overstatement of accounts receivable? Although there was an overstatement of the accounts receivable on Sanfords financial statements, Depot should not sue for this misrepresentation. This is because Sanford innocently miscalculated the accounts receivable figures; it was not done in a fraudulent or negligent manner. While the statement was a misrepresentation given the fact that it was false, unambiguous, concerned with a fact, and material, it does not fully satisfy all of elements of actionable misrepresentation. As a result, Depot should not sue. In the case of innocent misrepresentation, the result is the remedy of rescission. This means that the contract would be cancelled, and both parties would return to their pre-contractual ownership positions. This is likely not in Depots best interest, as they have already owned the business for two years, and have thus invested a significant amount of time and money into the businesss development. Moreover, Depot has known about this error since approximately January 2015, and did not act upon it immediately. This reduces the likelihood of the remedy of rescission. Due to the innocent nature of the misrepresentation, and the fact that the only outcome is rescission, Depot should not pursue any legal remedy with regards to the misstated accounts receivable. What should Depot do? For the reasons outlined above, Depot should sue Sanford for breaching their contract, specifically the non-competition clause of it. The company is very likely to win a legal dispute against Sanford, and runs the risk of losing even more business to Sanford if they choose to remain passive. Going forward, Depot should hire a lawyer to represent them, and to examine precedent cases in order to evaluate the most appropriate course of legal action. Depot should also consider whether or not the financial compensation that may be awarded in a lawsuit will outweigh the direct and indirect costs involved in a lawsuit. Legal action is most likely worth Depots time and money in this case, as an injunction on Sanford would allow them to establish themselves in the insurance industry and create customer relationships without Sanfords competition for the remaining time frame of the covenant. In order to avoid losing more customers to Sanford, who has many connections and more experience in the local competitive landscape, Depot should pursue legal action immediately.

The Rehearsal On Stage by Edgar Degas Essay -- impressionist movement,

Impressionism can easily be viewed as a captivating and revolutionary art movement, which took place during the Nineteenth century in Europe. Artists of this era began to contend with newer technologies, like the camera, for it possessed the capability to seize a spontaneous moment in time. Impressionists wanted to do the same; they strived to paint the picture of a genuine moment happening in front of them. One famous artist of this time period was Edgar Degas . Degas’ The Rehearsal On Stage, created in1874, reflects the characteristics of the impressionism period style of art as well as Degas’ own personal artistic style. By combining these two influences, Degas was able to produce a painting, which could be used to evoke a feeling of physical, sexual, and moral tension while also depicting modern-day life. Degas’ particular work, The Rehearsal Onstage, was created using pastels over a brush and ink drawing on a thin woven paper canvas. In fact, there is the second painting of Degas’, nearly identical to the one mentioned previously. However, it is instead known as The Rehearsal of the Ballet Onstage. Both variants of the composition are owned by the Metropolitan Museum in New York City . In addition to these two works, Degas seemed to be particularly interested in the subject of ballet across many of his other works as well. He focused on elements such as its elegant scenery, costumes, and movements made by the dancers themselves. He was fascinated by the spontaneity of the performance and yet the amount of restraint that must be exercised by its participants at the same time. More often than not, Degas chose to recreate the ballerinas who were off guard. For example he chose to depicting them as they stood backstage in an ... ...stern perspective. Fourteenth ed. Boston, MA: Wadsworth/Cengage Learning, 2014. "Grover Art Online Degas, Edgar." Oxford Art Online. http://www.oxfordartonline.com/subscriber/article/grove/art/T021805?q=degas&search=quick&pos=1&_start=1#firsthit (accessed April 21, 2014). "Heilbrunn Timeline of Art History." Edgar Degas: The Rehearsal Onstage (29.100.39). http://www.metmuseum.org/toah/works-of-art/29.100.39 (accessed April 23, 2014). "History of Art:The Impressionism - Edgar Degas." History of Art:The Impressionism - Edgar Degas. http://www.all-art.org/history480-5.html (accessed April 23, 2014). "Impressionism artists." Impressionism. http://www.artinthepicture.com/styles/Impressionism/ (accessed April 23, 2014). "Read a Brooke!." : Formal Analysis of Degas. http://babblingbrook3.blogspot.com/2012/04/formal-analysis-of-degas.html (accessed April 23, 2014).

Is Knowledge Worth Seeking :: essays research papers

Socrates argued that actively seeking out knowledge leads to the ability of man to moderate his behavior accordingly. If one examines a situation thoughtfully, and from several angles, the most logical course of action will present itself. By exercising this method of reasoning a person becomes wise. Socrates would call this the ability to govern the qualities of your soul properly and it is undoubtedly what he sought. The process brings out the virtuous qualities in man and allows him to make decisions based on truth, which leads ultimately to good. Discipline of the mind can only benefit its owner; and thus knowledge is worth seeking. Socrates defines knowledge as absolute truth. He believes that everything in the universe is innately connected; if one thing is known then potentially everything can be derived from that one truth. The fundamental ideas that Socrates seeks to uncover are called forms. This concept is illustrated when Socrates questions Meno on what virtue is. Meno answer with several examples of what is virtuous. This of course is not what Socrates is asking; he is asking Meno what all virtuous acts share in common. For Socrates this relationship between all virtuous acts is what virtue fundamentally is. A person can see virtuous acts but cannot see virtue. Because of this, the idea of virtue must exist somewhere independent of the perceivable world. This is true with all forms or ideas of perfection: they are something that cannot be known by human sense but reasoned out by individual human thought. One cannot, however, mistake knowledge for right opinion. Socrates makes distinctions between right opinion and knowledge. Opinions are not something that one can seek because they are beliefs held on shaky ground. â€Å"True opinions are a fine thing and do all sorts of good so long as they stay in their place, but they will not stay long. They run away from a man’s mind†¦Ã¢â‚¬  (97-98, Meno) Knowledge is unmistakable truth that cannot be changed in an argument: it holds true in all situations in all time. In matters pertaining to everlasting truths, one can argue that such truths are relative only to man in his finite reflective state. If these absolute ideas are true for all of time, did they exist before man did? If so, who was it that thought of them? Since one must contemplate these absolute truths (and the origin of anything contemplated is in the human mind), they are thus absolute only to humans. Is Knowledge Worth Seeking :: essays research papers Socrates argued that actively seeking out knowledge leads to the ability of man to moderate his behavior accordingly. If one examines a situation thoughtfully, and from several angles, the most logical course of action will present itself. By exercising this method of reasoning a person becomes wise. Socrates would call this the ability to govern the qualities of your soul properly and it is undoubtedly what he sought. The process brings out the virtuous qualities in man and allows him to make decisions based on truth, which leads ultimately to good. Discipline of the mind can only benefit its owner; and thus knowledge is worth seeking. Socrates defines knowledge as absolute truth. He believes that everything in the universe is innately connected; if one thing is known then potentially everything can be derived from that one truth. The fundamental ideas that Socrates seeks to uncover are called forms. This concept is illustrated when Socrates questions Meno on what virtue is. Meno answer with several examples of what is virtuous. This of course is not what Socrates is asking; he is asking Meno what all virtuous acts share in common. For Socrates this relationship between all virtuous acts is what virtue fundamentally is. A person can see virtuous acts but cannot see virtue. Because of this, the idea of virtue must exist somewhere independent of the perceivable world. This is true with all forms or ideas of perfection: they are something that cannot be known by human sense but reasoned out by individual human thought. One cannot, however, mistake knowledge for right opinion. Socrates makes distinctions between right opinion and knowledge. Opinions are not something that one can seek because they are beliefs held on shaky ground. â€Å"True opinions are a fine thing and do all sorts of good so long as they stay in their place, but they will not stay long. They run away from a man’s mind†¦Ã¢â‚¬  (97-98, Meno) Knowledge is unmistakable truth that cannot be changed in an argument: it holds true in all situations in all time. In matters pertaining to everlasting truths, one can argue that such truths are relative only to man in his finite reflective state. If these absolute ideas are true for all of time, did they exist before man did? If so, who was it that thought of them? Since one must contemplate these absolute truths (and the origin of anything contemplated is in the human mind), they are thus absolute only to humans.

The Immortal Artist :: essays research papers

The immortal Artist Throughout the history of the world humans have been intrigued by a condition referred to as immortality. Immortality is the state in which one defies death, thus conquering the realm of being a mortal. Scientists have searched for ways to create this phenomenon. With there over thought out and complex ideas they had managed to overlook the obvious. People had been achieving immortality for years. The key is not in physical exesistance but in your actions, creations, and reputation which will live on long after you die. T.L. Lange, a reputable artist from Atlanta Georgia, once said "Music and art play the dominant roles in life. In the liberation from the self, the ripples which are left to be remembered. It is in this moment that we achieve immortality and imagine what goes well with corn flakes†¦." The visual Arts students at The North Carolina School of the Arts have utilized this knowledge in such a way so that their class has remained immortal. As a class, the class of 1986, the students composed a mural. Dr. Chaplin created the mural and gave each student a representation. He managed to re-create an image of each student through regenerating his or her image from a photograph. The canvas is divided into eighteen individual and distinct sections. Each section is devoted to one student picture or figure, and their mood or feelings in which they wanted to portray. The designer, Chaplin, gave the work a sense of unity by using all pure hue colors and geometric construction with illustrative organic shapes to create the students. The use of repetition in color and general shapes gives the piece an intimate since of unity that also pulls the students together in a metaphoric sense. The work is residing in the student commons. The commons is designed as a place for students to dine, relax and visit with their friends. Therefor this is an appropriate place for the painting because it helps create the feeling that they are relaxing with the students of today. The work is not at all accented by architectural lighting or by any frame, and is not put on a pedestal to be observed.

Magnifying and Obscuring Essay

The stories of John Updike’s â€Å"A&P† and William Faulkner’s â€Å"A Rose for Emily† both make use of the first person point of view in narration but with very different and quite powerful effects that also affect other elements of the story. The ways in which these two stories play with the individual elements of a piece of fiction show just how important it is to make sure that these individual elements are all taken cared of and built-up with equal care and attention, because a problem with one element can result into a problem with the entire story; the elements must all be able to work together to support each other and to weave a tight story. â€Å"A&P† uses the first person, non-omniscient, singular point of view (POV) narration to build rapport with the main character, Sammy [for example: â€Å"I’m in the third check-out slot, with my back to the door, so I don’t see them until they’re over by the bread; I could see Lengel in my place in the slot, checking the sheep through. † (Updike 560)]. This connection with Sammy is a very important one because it is pretty much the driving force of the story; learning of what’s going on in a teenage boy’s head while there are half-naked girls walking about can make an interesting read. This point of view is really what helps push the reader on along as she or he plods through the â€Å"A&P† plot. With â€Å"A Rose for Emily†, on the other hand, we are given the first person, non-omniscient, plural point of view. Obviously, because it is plural it cannot be the view of the main character, Miss Emily Grierson. Instead we seem to have the entire story narrated to us by the entire town [â€Å"When Miss Emily Grierson died, our whole town went to her funeral; for a long while we just stood there, looking down at the profound and fleshless grin† (Faulkner)]. This works to increase the mystery that surrounds Miss Emily and her house because we never really knew what she is thinking or feeling. This point of view, giving an air of mystery, again, helps push the reader on to discover what happens throughout the story. Relating with the use of the POV are the different story plots. Here, we can see a great difference between â€Å"A&P† and â€Å"A Rose for Emily† because we find that one is mainly character-driven while the other has a strong plot that keeps the readers going through the story. It is â€Å"A&P† that is, obviously, character-driven because of its simple plot of a boy wanting to elicit the attention of some pretty girls, which is quite common. Even the events in the story and the simple chronological way that it folds are quite ordinary; it is really Sammy – his thoughts and his feelings – that make a reader interested in the story. And, even up to the ending, readers are all interested only in Sammy’s fate and no one else’s [â€Å"I felt how hard the world was going to be to me hereafter† (Updike 564)]. In â€Å"A Rose for Emily†, on the other hand, we have a story with a strong plot, aided by the effective point of view narration, which moves the story along. The story hooks readers into the plot by making them curious about who Miss Emily Grierson is from the very beginning – readers are wondering why she is a â€Å"fallen monument† and what is so interesting about the â€Å"inside of her house† (Faulkner). The non-linear timeline that the story follows also strengthens the mystery of Miss Emily because the building block to her life must be pieced together slowly and with a certain amount of intuition, at first. Now, the characters of the two stories are also very different – one is as open to us as a book laid flat-open, while the other is mystery to the very end. With Sammy of â€Å"A&P†, we never seem to see a concrete glimpse of in terms of physical appearance but the readers would all know him if they met him. The first person narration lets us in on all the things that makes Sammy think and tick with that little grocery stop. In his observation of the girls, we find a young man with a keen eye and, also, an eye for beauty. He also shows us the ability of a good imagination when he imagines how the girls behave and how their relationships with each other must be like as when he describes the tall girl as: â€Å"a tall one, with black hair that hadn’t quite frizzed right, and one of these sunburns right across under the eyes, and a chin that was too long — you know, the kind of girl other girls think is very â€Å"striking† and â€Å"attractive† but never quite makes it, as they very well know, which is why they like her so much. † (Updike 561) Sammy, as we can surmise, is a boy that is very much in-touch with his surroundings and his imagination. The characterization of Miss Emily, in contrast, is one that is left murky and shadowy. Because we only see her through the townspeople’s eyes, we never really see her clearly; we can only watch her through the stories, the memories, and the patchwork guesses that these observers give us. But even from this blurry view of Miss Emily through a window, we can see how guarded and closed-off she is from her environment [as when she acted ignorant of Colonel Sartoris’ death (Faulkner)] – the total opposite of Sammy. In â€Å"A&P†, we are set-up in a small grocery store that effectively concentrates our attention on no one and nothing else but Sammy and his current preoccupation. The A&P grocery store acts as the perfect magnifying glass to help us focus on our main character and how he deals with the current situation. â€Å"A Rose for Emily† is set-up up throughout decades of a life and in different places of the town; this manner of a setting makes for even more mystery as the reader tries to fill in all the gaps between the years that the narrators had no contact nor any knowledge of what went on in Miss Emily’s life. The vast setting diffuses the readers’ minds and it wanders across time and space, searching for a complete picture of Miss Emily Grierson. These two stories, perhaps more different than alike, prove that good stories don’t need to follow a certain pattern to mold in order to be good; it is in the writer and the dedication to his work that makes a story count. Works Cited Faulkner, William. â€Å"A Rose For Emily. † 16 February 2008. Fu Jen University: Department of English Language and Literature. 26 June 2009 Updike, John. â€Å"A&P†. The Compact Bedford Introduction to Literature Eighth Edition. Ed.

Jadwal Kuliah

2013 The Period of February – July Course Schedule MASTER OF MANAGEMENT FACULTY OF ECONOMICS AND BUSINESS UNIVERSITAS GADJAH MADA 1|P a g e ? ? ? ? ? ? Pre-MBA Batch 62 Regular Class International Class KK-Diknas II Reg. Class Executive Class KK-MA Executive Class The List of Lecturer of Pre-MBA Batch 62 The period of February – July 2013 Nr. COURSE CREDIT SESSION LECTURER CLASS A CLASS B Preliminary Session 1 IFM 2 IB 3 4 CLASS C (swj) Prof. Dr. Suwardjono, M. Sc. Introduction to Financial Management 3 36 aa Ahmad Amin, S. E. , M. B. A. , Ak. sgt Sugiarto, Drs. , M. B. A, M. Acc. adh Abdul Halim, Drs. , MBA, Dr. , Prof.Introduction to Business 2 24 wp Widya Paramita, S. E. , M. Sc. sdy Sudiyanti, S. E. , M. Sc. ror Rokhima Rostiani, S. E. , M. Mgt. IEM Introductory Economics for Managers 3 42 stw Soetatwo Hadiwigeno, Drs. , MA, Ph. D. srt Soeratno, Drs. , M. Ec. , Dr. bsh Budiono Sri Handoko, Drs. , MA, Ph. D. SBD Statistics for Business Decision 3 42 ah M. Adnan Hadja m, Drs. , MA chs Christiana Suparmi, Dra. , SU. ssl Samsubar Saleh, Drs. , M. Soc. Sc. , Dr. , Prof. The List of Lecturer of Diknas Class Semester III The period of February – July 2013 Nr. Course Credit Session Lecturer Class A 1 2 BSRM 3 PR 4 WT Workshop Tesis 5 1|P a g e LILeadership and Innovation 3 42 TH Tesis hh Hani Handoko, Drs. , M. B. A. , Ph. D. Behavioral and Social Research Methods 3 Project 3 42 wnl 42 hrm Class B gk Gugup Kismono, Drs. , M. B. A. , Ph. D I Wayan Nuka Lantara, S. E. , M. Si. , Ph. D. iwk Indra Wijaya Kusuma, Drs. , M. B. A. , Ph. D. , Prof. Harmanto, Drs. , M. Si. (Coordinator) hrm Harmanto, Drs. , M. Si. (Coordinator) The List of Lecturer of International Class The period of February – July 2013 Nr. Batch Credit Session 1 FM Financial Management Course 61 3 42 ma Marwan Asri, Drs. , M. B. A. , Ph. D. , Prof. 2 MM Marketing Management 61 3 42 ssn Sahid Susilo Nugroho, Drs. M. Sc. , M. Phil. , Ph. D. 3 OB Organizational Behavior 61 3 42 ss t Sari Sitalaksmi, S. E. , M. Mgt. , Ph. D. 4 BL Business Law 61 2 30 pps Paripurna P. S. , Drs. , SH, M. Hum. , Dr. 5 OM Operations Management 61 3 42 wsc Wakhid Slamet Ciptono, Drs. , M. B. A. , M. P. M. , Ph. D. 6 BE Business Ethics 61 3 42 dhs Dewi Haryani Susilastuti, Dra. , M. Sc. , Ph. D. 7 SIT Systems and Information Technology 60 3 42 jgy Jogiyanto Hartono, Drs. , MBA, CMA. , Ph. D. , Prof. 8 MCS Management Control Systems 60 3 42 spy Supriyadi, Drs. , M. Sc. , Ph. D. 9 SM Strategic Management 60 3 42 ra Rangga Almahendra, S. T. , M. M. , Ph. D. 10GBE General Business Environment 60 3 54 – Course overview bsd Basu Swastha Dh. , Drs. , MBA, Ph. D. , Prof. – Demographical environment dhs Dewi Haryani Susilastuti, Dra. , M. Sc. , Ph. D. – Social environment da Djamaludin Ancok, Drs. , MA, Ph. D. , Prof. dsy Djoko Suryo, MA. , Dr. , Prof. – Cultural environment Lecturer – Domestic political environment mmd Mohtar Masoed, MA. , Dr. , Prof. â₠¬â€œ International political environment mmd Mohtar Masoed, MA. , Dr. , Prof. – Natural environment sdt Shalihudin Djalal Tandjung, M. Sc. , Dr. , Prof. – Technological environment: Information Technology jei Jazi Eko Istiyanto, Drs. , M. Sc. Ph. D. , Prof. – Technological environment: Processing technology krk Kapti Rahayu Kuswanto, Dr. , Prof. – Governmental environment wk Wahyudi Kumorotomo, MPP. , Dr. , Prof. – Economic development la Lincolin Arsyad, Drs. , M. Sc. , Ph. D. , Prof. – Regional economy tw Tri Widodo, S. E. , M. Ec. Dev. , Ph. D. , Prof. – Industry & sectoral policies mk Mudrajad Kuncoro, M. Soc. Sc. , Dr. , Prof. – Monetary & fiscal policies sa Sri Adiningsih, Dra. , M. Sc. , Ph. D. , Prof. Presentation and class discussion (Session 15 & 16) bsd Basu Swastha Dharmmesta, Drs. , MBA. , Ph. D. , Prof. bsd Basu Swastha Dharmmesta, Drs. , MBA. , Ph.D. , Prof. Business Communication 59 & 60 3 42 djs Djoko Susanto, Drs. , MSA. , Ak. , Ph. D. , Prof. BRM Business Research Methods 59 & 60 3 42 zb Zaki Baridwan, Drs. , M. Sc. , Ph. D. , Prof. 13 WT Workshop Thesis 59 1 14 TH Thesis 59 3 Presentation and class discussion (Session 17 & 18) 11 12 2|P a g e BC The List of Lecturer of Regular Class The period of February – July 2013 Nr. Course Batch Credit Lecturer Session Class A Class B Class C 1 FM Financial Management 61 3 42 sh Suad Husnan, Drs. , MBA. , Ph. D. sum Sumiyana, Drs. , M. Si. , Dr. et Eduardus Tandelilin, Drs. , MBA, Ph. D. , Prof. 2 MM Marketing Management 61 3 2 ssn Sahid Susilo Nugroho, Drs. , M. Sc. , M. Phil. , Ph. D. swi Sari Winahjoe S. , Dra. , MBA tb Teguh Budiarto, Drs. , MIM. 3 OB Organizational Behavior 61 3 42 epn Edi Prasetyo Nugroho, Drs. , MBA. 4 BL Business Law 61 2 30 mf Mukti Fajar, SH, M. Hum. , Dr. 5 OM Operations Management 61 3 42 bdh 6 BE Business Ethics 61 3 42 es 7 SIT Systems and Information Technology 60 3 42 jei Jazi Eko Istiyanto, Drs. , M. Sc. , Ph. D. , Prof. 8 MCS Management Control Systems 60 3 42 ssg 9 SM Strategic Management 60 3 42 10 GBE General Business Environment 60 3 54 Reni Rosari, Dra. , MBA. drw Diah Retno Wulandaru, Dra. , MBA. hwn rr M.Hawin, SH, LLM, Ph. D. , Prof. hwn M. Hawin, SH, LLM, Ph. D. , Prof. Budi Hartono, S. T. , M. P. M. , Ph. D. khw Kuncoro Hartowidodo, Ir. , M. Eng. , Ph. D. sut Sutrisno, Ir. , MSME, Ph. D. Eko Suwardi, Drs. , M. Sc. , Ph. D. spy Supriyadi, Drs. , M. Sc. , Ph. D. ms Mahfud Sholihin, SE. , M. Acc. , Ph. D. swr Sony Warsono, Drs. , MAFIS, Ph. D. swr Sony Warsono, Drs. , MAFIS, Ph. D. Slamet Sugiri, Drs. , M. B. A. , Dr. , Prof. frn Fuad Rakhman, S. E. , M. Sc. , Ph. D. sm Setiyono Miharjo, Drs. , MBA, Ph. D. ast Agus Setiawan, Drs. , M. Soc. Sc. , Ph. D en Ertambang Nahartyo, Drs. , M. Sc. , Ph. D. en Ertambang Nahartyo, Drs. M. Sc. , Ph. D. – Course overview bsd Basu Swastha Dh. , Drs. , MBA, Ph. D. , Prof. psp Prasetyo Soepono, Drs. , MA, MBA, Ph. D. , Prof. psp Prasety o Soepono, Drs. , MA, MBA, Ph. D. , Prof. – Demographical environment dhs Dewi Haryani Susilastuti, Dra. , M. Sc. , Ph. D. dhs Dewi Haryani Susilastuti, Dra. , M. Sc. , Ph. D. dhs Dewi Haryani Susilastuti, Dra. , M. Sc. , Ph. D. – Social environment da Djamaludin Ancok, Drs. , MA, Ph. D. , Prof. da Djamaludin Ancok, Drs. , MA, Ph. D. , Prof. da Djamaludin Ancok, Drs. , MA, Ph. D. , Prof. – Cultural environment dsy Djoko Suryo, MA. , Dr. , Prof. dsy Djoko Suryo, MA. , Dr. Prof. dsy Djoko Suryo, MA. , Dr. , Prof. – Domestic political environment Mohtar Masoed, MA. , Dr. , Prof. mmd Mohtar Masoed, MA. , Dr. , Prof. mmd Mohtar Masoed, MA. , Dr. , Prof. – International political environment mmd Mohtar Masoed, MA. , Dr. , Prof. mmd Mohtar Masoed, MA. , Dr. , Prof. mmd Mohtar Masoed, MA. , Dr. , Prof. – Natural environment sdt Shalihudin Djalal Tandjung, M. Sc. , Dr. , Prof. sdt Shalihudin Djalal Tandjung, M. Sc. , Dr. , Prof. sdt Shalihudin Djalal Tandjung, M. Sc. , Dr. , Prof. – Technological environment: Information Technology jei Jazi Eko Istiyanto, Drs. , M. Sc. , Ph. D. , Prof. jeiJazi Eko Istiyanto, Drs. , M. Sc. , Ph. D. , Prof. jei Jazi Eko Istiyanto, Drs. , M. Sc. , Ph. D. , Prof. – Technological environment: Processing technology krk Kapti Rahayu Kuswanto, Dr. , Prof. zpl Zuprizal, Dr. , Prof. zpl Zuprizal, Dr. , Prof. – Governmental environment po Poppy S. Winanti, SIP, MA, M. Ec. Dev. , Ph. D. po Poppy S. Winanti, SIP, MA, M. Ec. Dev. , Ph. D. po Poppy S. Winanti, SIP, MA, M. Ec. Dev. , Ph. D. – Economic development la Lincolin Arsyad, Drs. , M. Sc. , Ph. D. , Prof. la Lincolin Arsyad, Drs. , M. Sc. , Ph. D. , Prof. la Lincolin Arsyad, Drs. , M. Sc. , Ph. D. , Prof. – Regional economy twTri Widodo, S. E. , M. Ec. Dev. , Ph. D. , Prof. tw Tri Widodo, S. E. , M. Ec. Dev. , Ph. D. , Prof. tw Tri Widodo, S. E. , M. Ec. Dev. , Ph. D. , Prof. – Industry & sectoral policies 3|P a g e mmd mk Mudrajad Kuncoro, M. Soc. Sc. , Dr. , Prof. mk Mudrajad Kuncoro, M. Soc. Sc. , Dr. , Prof. mk Mudrajad Kuncoro, M. Soc. Sc. , Dr. , Prof. sa (Session 15 & 16) – Presentation and class discussion (Session 17 & 18) sa Sri Adiningsih, Dra. , M. Sc. , Ph. D. , Prof. sa Sri Adiningsih, Dra. , M. Sc. , Ph. D. , Prof. Basu Swastha Dharmmesta, Drs. , MBA. , Ph. D. , Prof. psp Prasetyo Soepono, Drs. , MA, MBA, Ph. D. , Prof. pspPrasetyo Soepono, Drs. , MA, MBA, Ph. D. , Prof. bsd – Presentation and class discussion Sri Adiningsih, Dra. , M. Sc. , Ph. D. , Prof. bsd – Monetary & fiscal policies Basu Swastha Dharmmesta, Drs. , MBA. , Ph. D. , Prof. psp Prasetyo Soepono, Drs. , MA, MBA, Ph. D. , Prof. psp Prasetyo Soepono, Drs. , MA, MBA, Ph. D. , Prof. Ida Rochani, Dra. , S. U. , Dr. ds Djoko Susanto, Drs. , M. S. A. , Ak. , Ph. D. , Prof. Basu Swastha Dh. , Drs. , MBA, Ph. D. , Prof. wnl I Wayan Nuka Lantara, S. E. , M. Si. , Ph. D. 11 BC Business Communicati on 59 3 42 ir Ida Rochani, Dra. , S. U. , Dr. 12 BRM Business Research Methods 59 3 42 zbZaki Baridwan, Drs. , M. Sc. , Ph. D. , Prof. 13 WT Workshop Thesis 59 1 42 14 TH Thesis 59 3 42 ir bsd The List of Lecturer of Concentration Class The period of February – July 2013 Nr. Course Batch Credit Session Lecturer 1 PTM Portfolio Management 60 3 42 sh Suad Husnan, Drs. , MBA, Ph. D. 2 MF Multinational Finance 59 3 42 ee Erni Ekawati, Dra. , M. B. A. , M. S. A. , Ph. D. 3 FRM Financial Risk Management 60 3 42 mh Mamduh M. Hanafi, Drs. , MBA, Ph. D. 4 CBA Consumer and Behavior Analysis 60 3 42 bsd Basu Swastha Dh. , Drs. , MBA, Ph. D. , Prof. 5 GM Global Marketing 59 & 60 3 42 baa Bayu Aji Aritejo, S. E. , M. M. , M.Si. , Ph. D. Cand. 6 Strategic Human Resource Management 3 42 sst Sari Sitalaksmi, SE, M. Mgt. , Ph. D. 7 OCD Organizational Change and Development 59 & 60 3 42 epn Edi Prasetyo Nugroho, Drs. , MBA. 8 SL Strategic Leadership 60 3 42 hsn Harsono, M. Sc. , DBA. 9 CS Corp orate Strategy 60 3 42 aw Amin Wibowo, Drs. , MBA, Ph. D. 10 ICA Industry and Competitive Analysis 59 3 42 adj Ahmad Djamli, Drs. , M. A. 11 BM Business Modeling 60 3 42 ni Nurul Indarti, SE, Siv. Ok. , Cand. Merc. , Ph. D. 12 4|P a g e SHRM 60 BP Business Plan 59 & 60 3 42 bst Bayu Sutikno, SE, MSM, Ph. D. Course Schedule Week 1 February 11 – 16, 2013 Monday 11No Time 1 07. 00–09. 30 2 10. 00–12. 30 3 13. 30–16. 00 4 16. 00–18. 30 No Time REG – INT CLASS 401 402 403 FM-A-61 sh 404 FM-C-61 et PRE-MM 405 412 BRM-A-59 zb 301 (A) GBE-60-Int CO bsd rr OM-C-61 sut 304 (C) 303 201 (A) 202 (B) 303 201 (A) 202 (B) GBE-60-B CO psp BRM-Int-59-60 zb BRM-C-59 wnl GBE-60-A CO bsd FM-Int-61 ma OB-B-61 302 (B) DIKNAS II BC-Int-59-60 ds GBE-60-B RE tw GBE-60-A MFP sa GBE-60-C CO psp GBE-60-C RE tw GBE-60-Int MFP sa Tuesday 12 401 402 BE-B-61 spy 403 MM-C-61 tb 404 BE-Int-61 dhs 405 412 BC-C-59 ds 301 (A) 302 (B) 304 (C) GBE-60-Int ED la GBE-60-A SE da GBE-6 0-B CE dsy GBE-60-C DPE mmd BRM-A wnlGBE-60-Int DPE mmd GBE-60-A ED la GBE-60-B SE da GBE-60-C CE dsy BRM-A wnl GBE-60-C MFP sa 1 07. 00–09. 30 2 10. 00–12. 30 3 13. 30–16. 00 GBE-60-Int PT krk GBE-60-A RE tw GBE-60-B ISP mk 4 16. 00–18. 30 GBE-60-Int RE tw GBE-60-A PT krk GBE-60-B MFP sa No Time LI-B gk BL-A-61 mf BL-B-61 hwn BL-Int-61 pps MF-59 ee Wednesday 13 401 402 403 404 BL-C-61 hwn 1 07. 00–09. 30 2 10. 00–12. 30 OB-A-61 epn FM-B-61 sum 3 13. 30–16. 00 OM-A-61 bdh BP-59-60 bst 4 Time 1 07. 00–09. 30 BE-A-61 es 2 10. 00–12. 30 MM-A-61 ssn 3 13. 30–16. 00 4 16. 00–18. 30 No Time 412 BRM-B-59 bsd 301 (A) 302 (B) 304 (C) GBE-60-Int CE dsy GBE-60-A DPE mmdGBE-60-B DE dhs GBE-60-C SE da 303 LI-A GBE-60-Int SE da GBE-60-A CE dsy GBE-60-B DPE mmd GBE-60-C DE dhs LI-A 301 (A) 302 (B) 304 (C) GBE-60-A GE po GBE-60-B ED la GBE-60-C ISP mk GBE-60-B GE po GBE-60-C ED la 201 (A) 202 (B) hh LI-B gk hh BRM-B iwk 16 . 00–18. 30 No 405 MM-Int-61 ssn GM-59-60 baa ICA-59 OB-Int-61 sst OCD-59-60 epn adj Thursday 14 401 402 403 404 OM-B-61 khw 405 412 BC-A-59 ir BE-C-61 ms OM-Int-61 wsc BC-B-59 ir GBE-60-Int ISP mk GBE-60-Int IPE mmd GBE-60-A NE sdt GBE-60-B IT jei GBE-60-A IPE mmd GBE-60-B NE sdt 302 (B) 304 (C) 202 (B) BRM-B iwk GBE-60-C IT jei 301 (A) 201 (A) GBE-60-C PT zpl GBE-60-Int GE wk