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· Week 3 Assignment
Government and Not-For-Profit Accounting
Value of Donated Assets
Which is the proper value to be assigned to certain donated
assets? (This is a question for which answers cannot be found in
either GASB pronouncements or the text), research is necessary.
A city’s road maintenance department received “donations” of
two type of assets:
1. From the county in which the city is located it received
earthmoving equipment. The equipment had cost the county
$800,000 when it was acquired five years earlier. Accounted for
in a county proprietary fund, its book value, net of accumulated
depreciation at the time of donation, was $500,000. Its fair
market value was $530,000.
2. From the city’s own utility fund (a proprietary fund) it
received motor vehicles that had cost the city $400,000 when
acquired three years earlier. At the time of transfer, the vehicles
were recorded on the utility’s books at $180,000, net of
accumulated depreciation. Their fair market value was
#225,000.
Write a 1000 word, APA you answer style paper where the
following:
1. At what value should the city record in its government-wide
financial statements for: (1) the earth-moving equipment, and
(2) the motor vehicles?
1. Briefly justify your response, commenting on any apparent
inconsistencies in the values assigned to each of the two types
of assets.
1. Comment on the significance of the resultant book values for
decisions or assessments to be made by statement users.
Myth Clash Paper #1
Zheng Hui
The present paper will discuss how different ancient poets
describe the myths. It will compare and Contrast the two
versions of the myth of the Cyclops Polyphemus in the Archaic
Greek poet Homer’s Odyssey (EH 298-314) and in the
Hellenistic poet Theocritus' poem (Idyll 11) (ACM 399-401). It
will also elaborate how Roman poet Ovid combine elements
from each of these earlier poets’ versions to make his own
version of the myth in his poem, the Metamorphoses (OM 374-
381). In general, the paper will discuss and analyze the
differences and similarities among several versions from
different aspects including characters, features, techniques and
others.
According to ancient Greek myth, there were three separate
tribes of the mythical, one eyed giants known as Cyclops, or
Cyclopes. One of them is the Ouranian Cyclopes, who was the
offspring of Gaea and Ouranos. Besides, there is also another
Cyclops called the mason-Cyclopes, who represents workers in
Hephaestus’s forge. The third one is the shepherd-like
Cyclopes, who was neighbors of the island-dwelling
Polyphemus, who was a son of Poseidon (Weinstock, 2013).
Based on the description of the Cyclopes in the ancient Greek
myth, one feature that is present in all these Cyclopes is that
they had one unique anatomy. In addition, they all had a single
round eye in the middle of their foreheads. In fact, the eye,
according to the Greek poet Hesiod, is the source of their name.
In Greek, Cyclops means “circle-eye.” These giants played
important roles in the myth. Ouranian, for example, had a role
in helping Zeus defeat the Titans in the generational conflict
known as the Titanomachy through lighting and thunderbolts
(Weinstock, 2013). Mason-Cyclopes, as the name suggested,
was in charge of building monuments and walls. Other than that,
in Homer’s Odyssey, the Cyclops devours several of Odysseus’s
men before being tricked and blinded by the hero. Moreover,
they are also depicted as giants who had appetite for man-flesh.
The Odyssey describes Cyclops as giants who could do anything
because there was no authority upon them. They have no
commerce, no city, laws, customs and religious practices. For
instance, Polyphemus eat Odysseus’s companions without fear
of retribution (Weinstock, 2013). It’s revealed that Odysseys
relies on his wits to defeat the Cyclops. Odysseus started by
withholding his true name and proclaiming himself to be
“Nobody.” Then he gets Cyclops drunk and blind him with a
wooden stake (Shapiro, 2007).
In the Hellenistic age, Polyphemus became the subject of poetic
elaboration. The Sicilian Greek poet Theocritus (circa 275 B.C.)
wrote two poems describing how, prior to the Odysseus episode,
Polyphemus loved and wooed the sea nymph Galatea. It should
be noted that the concept of turning a savage, ugly giant into a
romantic hero is typical of the frivolous intellectual tastes of
the Hellinistic era.
It is apparent to see the general similarities in technique
between this poem and Ovid’s story of Anna. First of all, they
both represent Virgilian figures in an unfamiliar and playful
manner. Secondly, they both exploit a non-Virgilian, probably
Varronian, tradition. What’s more, the technique is actually
quite common in the Hellenistic poets. It is obvious that
Theocritus’ account of the Cyclops Polyphemus’ borrows
heavily on Odyssey 9. Besides, the description of Callimachus
is modelled on Homer’s account of Odysseus’ stay with the pig-
man Eumaeus in Odyssey 14 and 15.
In the story, Ovid made vivid depictions of the cruelty of
jealous gods, the pathos of human love, and the imaginative
fantasy of flight. Unlike the Hellenistic poet’s exploitation of
Homer, the exploitation of Virgil by Propertius and Ovid could
not, of course, be a purely literary matter, because of the
significance of the Aeneid as an expression of Augustan
propaganda (Norton, 2013).
Ovid employs ekphrastic techniques in his work. His ekphrasis
tell of a world where art surpasses nature and preserves it,
where words can make pictures come alive and where human
artists are constantly punished for daring to outdo the Deus
artifex (Norton, 2013). This shed light on Ovid’s own views on
the subject. His art is better, both natural and crafted (Norton,
2013).
In conclusion, based on the context delivered above, the paper
has clearly compared and Contrasted the two versions of the
myth of the Cyclops Polyphemus in the Archaic Greek poet
Homer’s Odyssey (EH 298-314) and in the Hellenistic poet
Theocritus' poem (Idyll 11) (ACM 399-401). The differences
and similarities are discussed in detail and expressed in a clear
and brief way. To sum up, the discussion above has mentioned
that it is clear that in Hellinistic era, the giant turned into a
romantic hero. The analysis also reveals that Ovid employs
ekphrastic techniques. Ovid's ekphrasis tell of a world where art
surpasses nature and preserves it, where words can make
pictures come alive and where human artists are constantly
punished for daring to outdo the Deus artifex.
References
Top of Form
Weinstock, J. A. (2013). The Ashgate encyclopedia of literary
and cinematic monsters. Farnham, Surrey, England; Burlington,
VT, USA
Top of Form
Shapiro, H. A. (2007). The Cambridge companion to archaic
Greece. Cambridge: Cambridge University Press.
Top of Form
Norton, E. (2013). Aspects of Ecphrastic Technique in Ovid''s
Metamorphoses. Newcastle upon Tyne: Cambridge Scholars
Publishing.

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  • 1. · Week 3 Assignment Government and Not-For-Profit Accounting Value of Donated Assets Which is the proper value to be assigned to certain donated assets? (This is a question for which answers cannot be found in either GASB pronouncements or the text), research is necessary. A city’s road maintenance department received “donations” of two type of assets: 1. From the county in which the city is located it received earthmoving equipment. The equipment had cost the county $800,000 when it was acquired five years earlier. Accounted for in a county proprietary fund, its book value, net of accumulated depreciation at the time of donation, was $500,000. Its fair market value was $530,000. 2. From the city’s own utility fund (a proprietary fund) it received motor vehicles that had cost the city $400,000 when acquired three years earlier. At the time of transfer, the vehicles were recorded on the utility’s books at $180,000, net of accumulated depreciation. Their fair market value was #225,000. Write a 1000 word, APA you answer style paper where the following: 1. At what value should the city record in its government-wide financial statements for: (1) the earth-moving equipment, and (2) the motor vehicles? 1. Briefly justify your response, commenting on any apparent inconsistencies in the values assigned to each of the two types of assets. 1. Comment on the significance of the resultant book values for decisions or assessments to be made by statement users. Myth Clash Paper #1
  • 2. Zheng Hui The present paper will discuss how different ancient poets describe the myths. It will compare and Contrast the two versions of the myth of the Cyclops Polyphemus in the Archaic Greek poet Homer’s Odyssey (EH 298-314) and in the Hellenistic poet Theocritus' poem (Idyll 11) (ACM 399-401). It will also elaborate how Roman poet Ovid combine elements from each of these earlier poets’ versions to make his own version of the myth in his poem, the Metamorphoses (OM 374- 381). In general, the paper will discuss and analyze the differences and similarities among several versions from different aspects including characters, features, techniques and others. According to ancient Greek myth, there were three separate tribes of the mythical, one eyed giants known as Cyclops, or Cyclopes. One of them is the Ouranian Cyclopes, who was the offspring of Gaea and Ouranos. Besides, there is also another Cyclops called the mason-Cyclopes, who represents workers in Hephaestus’s forge. The third one is the shepherd-like Cyclopes, who was neighbors of the island-dwelling Polyphemus, who was a son of Poseidon (Weinstock, 2013). Based on the description of the Cyclopes in the ancient Greek myth, one feature that is present in all these Cyclopes is that they had one unique anatomy. In addition, they all had a single round eye in the middle of their foreheads. In fact, the eye, according to the Greek poet Hesiod, is the source of their name. In Greek, Cyclops means “circle-eye.” These giants played important roles in the myth. Ouranian, for example, had a role in helping Zeus defeat the Titans in the generational conflict known as the Titanomachy through lighting and thunderbolts (Weinstock, 2013). Mason-Cyclopes, as the name suggested, was in charge of building monuments and walls. Other than that, in Homer’s Odyssey, the Cyclops devours several of Odysseus’s
  • 3. men before being tricked and blinded by the hero. Moreover, they are also depicted as giants who had appetite for man-flesh. The Odyssey describes Cyclops as giants who could do anything because there was no authority upon them. They have no commerce, no city, laws, customs and religious practices. For instance, Polyphemus eat Odysseus’s companions without fear of retribution (Weinstock, 2013). It’s revealed that Odysseys relies on his wits to defeat the Cyclops. Odysseus started by withholding his true name and proclaiming himself to be “Nobody.” Then he gets Cyclops drunk and blind him with a wooden stake (Shapiro, 2007). In the Hellenistic age, Polyphemus became the subject of poetic elaboration. The Sicilian Greek poet Theocritus (circa 275 B.C.) wrote two poems describing how, prior to the Odysseus episode, Polyphemus loved and wooed the sea nymph Galatea. It should be noted that the concept of turning a savage, ugly giant into a romantic hero is typical of the frivolous intellectual tastes of the Hellinistic era. It is apparent to see the general similarities in technique between this poem and Ovid’s story of Anna. First of all, they both represent Virgilian figures in an unfamiliar and playful manner. Secondly, they both exploit a non-Virgilian, probably Varronian, tradition. What’s more, the technique is actually quite common in the Hellenistic poets. It is obvious that Theocritus’ account of the Cyclops Polyphemus’ borrows heavily on Odyssey 9. Besides, the description of Callimachus is modelled on Homer’s account of Odysseus’ stay with the pig- man Eumaeus in Odyssey 14 and 15. In the story, Ovid made vivid depictions of the cruelty of jealous gods, the pathos of human love, and the imaginative fantasy of flight. Unlike the Hellenistic poet’s exploitation of Homer, the exploitation of Virgil by Propertius and Ovid could
  • 4. not, of course, be a purely literary matter, because of the significance of the Aeneid as an expression of Augustan propaganda (Norton, 2013). Ovid employs ekphrastic techniques in his work. His ekphrasis tell of a world where art surpasses nature and preserves it, where words can make pictures come alive and where human artists are constantly punished for daring to outdo the Deus artifex (Norton, 2013). This shed light on Ovid’s own views on the subject. His art is better, both natural and crafted (Norton, 2013). In conclusion, based on the context delivered above, the paper has clearly compared and Contrasted the two versions of the myth of the Cyclops Polyphemus in the Archaic Greek poet Homer’s Odyssey (EH 298-314) and in the Hellenistic poet Theocritus' poem (Idyll 11) (ACM 399-401). The differences and similarities are discussed in detail and expressed in a clear and brief way. To sum up, the discussion above has mentioned that it is clear that in Hellinistic era, the giant turned into a romantic hero. The analysis also reveals that Ovid employs ekphrastic techniques. Ovid's ekphrasis tell of a world where art surpasses nature and preserves it, where words can make pictures come alive and where human artists are constantly punished for daring to outdo the Deus artifex. References Top of Form Weinstock, J. A. (2013). The Ashgate encyclopedia of literary and cinematic monsters. Farnham, Surrey, England; Burlington, VT, USA Top of Form
  • 5. Shapiro, H. A. (2007). The Cambridge companion to archaic Greece. Cambridge: Cambridge University Press. Top of Form Norton, E. (2013). Aspects of Ecphrastic Technique in Ovid''s Metamorphoses. Newcastle upon Tyne: Cambridge Scholars Publishing.