There is also a section on personal finance. With its comprehensive coverage of the subject, Teach Yourself Finance for Non Financial Managers allows you not only to ask pertinent questions but also to understand the answers. The world of finance and accountancy can seem one of impenetrable mystery but it is one that many managers have to face in their day to day lives. This fourth edition is fully updated to reflect current allowances, rates and regulations and further information. It also includes even more questions (with comprehensive answers) to challenge the reader' s understanding. Detailed explanations are provided in a clear, jargon-free style and backed up with lots of practical examples. Areas covered include: - basic terminology - accounting concepts and principles - profit & loss accounts and cash flow management - how accounts departments work - corporate financial planning. Chapter by chapter, the workings of finance are mapped out and laid bare - the formal reports, the methods used to prepare the numbers and what accountants actually do every day.
Teach Yourself Finance for Non Financial Managers
|Формат:|| Страниц 272|
Hodder & Stoughton
Приемы комического в языке произведений П.Г....
Это повествование от первого лица максимально драматизирует текст произведения. Возникает одновременно эффект игры одного актера, рассказывающего и комментирующего происходящее. Введение прямой речи в романах Вудхауза напоминает ремарки из пьес. Наш анализ показал, что в своих произведениях автор всегда внимателен к тому, как были произнесены те или иные слова. Качественное наречие при словах «сказал, ответил, возразил» и т.д. для Вудхауза обязательно и представляет собой одну из специфических черт стиля. Лексическое богатство наречий, вводящих прямую речь у писателя исключительно велико. ‘Bag-s a chi g’, he repea ed firmly; ‘Are you ill, sir?’ he i quired solici ously; ‘Do ’ pre e d you do ’ k ow all abuo i , Jeeves’, I said coldly; ‘Oh, I would ’ ask yourself ro like ha ’, I said hear ily; ‘S epha ie By g!’ he said bi erly; ‘Spode!’ I cried sharply. (“ he Code of he Woos ers”) Эпитет-наречие настолько оживляет повествование, что делает его динамичным и сценически ощутимым. Наречия сопровождают не только глаголы говорения, но и другие глаголы. Качество действия всегда в поле зрения автора. Все это помогает ярче представить сцену.
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