Receivables and Long-Lived Assets

Write a paper on the similarities and differences in accounting for long-lived assets under GAAP and IFRS.

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ikely to have contributed to the feeling that these novels were elitist, and will have meant that state school students (the majority of the public) at the time were not helped to access, appreciate or understand literary fiction. The continued effect of this on the British population is twofold: ex- comprehensive students who are now adults and potential book buyers may maintain a feeling of unfamiliarity and dislike towards classic novels, preferring to consume other forms of media or less traditionally literary books, like genre fiction; and this attitude is likely to have been inherited by their children. Even if the new curriculum encourages students studying after 1990 to access classic literature and read novels without stigma, the after effects continue to be felt culturally. For one thing, it will take a while for the stigma to dissipate, even as (hopefully) each generation will inherit a slightly more positive attitude to classic novels.

This change will in turn prompt a shift in the types of fiction that people are willing to pay to consume and, in turn, publishers will respond by emphasising literary fiction over genre fiction, which will increasingly normalise reading it. The issue is that this process, which is really an undoing of the previous process of stigmatisation, is gradual and far from completion. The previously discussed rise of populism may well serve to undo it.

Why and how do economics affect reading?

Point 2: Examples of modern novels that do/ have had social influence, explore why this has been (however, may have to counter these i.e. has it been the film of the novel that has actually garnered interest/ influence? Is it on the curriculum?)

It would be too sweeping, however, to claim that no modern novel has had significant social impact, or that no modern literary novel has ever been well received. What can be observed is a shift in the manner in which authors communicate a need for change, and perhaps their faith in the capacity of art to incite it.

Sylvia Plath’s 1963 novel ‘The Bell Jar’ has a reliable place in most lists of ‘canonical’ modern literature, despite its delayed and unwieldy rise to recognition and the complaint of critics that it ‘refuses to be the great novel you’d want a great poet’s only novel to be’ (Gould, 2011). This status, which has seen a ceaseless publication history, selling over 3 million copies, can arguably be accredited to its significance for 2nd Wave Feminism and its evocative depiction of mental illness. Gould comments that ‘feminists of the 1970s claimed Plath as a martyred patron saint of repressive domesticity’ (Catton, 2013), while many 21st Century critical interpretations of The Bell Jar laud it as a definitively feminist protest novel. From a psychoanalytical point of view, the novel has been praised for its radically honest depiction of mental illness, which has prompted some critics to read it as protesting the stigma and lack of sympathy surrounding those with mental illnesses, particularly women. Whether these interpretations are accurate, or whether they make the mistake of projecting too much ideology onto Plath’s very personal- practically autobiographical- story, as one school of critical thought suggests, they offer a reasonable explanation for

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