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Inhaltsangabe:Abstract: Many companies invest in Bulgaria due to various reasons. One reason is the tempting and overwhelming predictions. Although costs are low, investors will have a hard time increasing prices to yield return. Austria took about 25 years to develop itself to the condition it is now, although Austria is not a third world country. Bulgaria on the other hand is a developing country and the economical development will probably move slower due to their current government situation. Due to the attractive forecasts, I believe that investors overestimate them. I believe they are true, but misleading and therefore investors take a huge risk by planning short-term goals within Bulgaria. Investments are usually decided upon specific questions such as: What is the scale of the investment? Can the company afford it? How long will it take to pay back the investment? How long will it take before the investment starts to yield returns? What are the expected profits from the investment? Could the money be used to yield higher returns elsewhere? By answering such questions, companies also receive advices from experts and/or analysts to see if their answers to the above questions can be materialized within that country. This may depend on the growth rates, Gross Domestic Product (GDP) figures, future development plans, the predicted potential, the entry to the European Union, etc. Nevertheless, since investment in Bulgaria is increasing, one can assume that all believe that their investments will pay off. But will they really? Why do so many companies invest into Bulgaria? The predictive indicators are attractive and tempting, but are they really as realistic as investors say? I believe that up to a certain degree, investment is profitable important, but once the line is stretched, capital losses will appear. Currently, Bulgaria is swimming in foreign investment, and all investors believe that it will pay off. But it is impossible to assume that all investments will result profitably, especially not within a short period of time. I am afraid, that until the investments yields returns, the companies lost already. The reason --- the time range that are used to calculate the forecasts or predictions, are not realistic. Property is today?s most popular financial investment. The traditional Stock Market offers high returns but it proves to be a highly volatile market. It is interesting to note that 50% of all members of ?The Times Rich [¿]
In this study the author conducts a close reading of Virginia Woolf¿s first ¿experimental¿ novel, Jacob¿s Room (1922). Her reading is based on the fundamental premise that the novel is an exploration of fictional form, rather than an exposition of any preconceived idea. Jacob¿s Room is an essentially modernist text, and is characterised by extensive genre-mixing typical of the art of fiction in the early 20th century. Throughout her study the author analyses the extent to which the novel transgress the ¿boundaries¿ of the novelistic genre. She explores the generic interface between the novel and those genres which are deemed to be innate to Virginia Woolf¿s sensibility, i.e. the journalistic essay, biography and impressionist painting. The premise of this study leads the author to read the novel on two levels of significance: On the narrative, ¿surface¿ level of the novel, Woolf constructs the tragic life of a promising young Englishman, Jacob Flanders, who dies in the First World War. Simultaneously, on the metafictional level of significance, Woolf, through her garrulous narrator, mocks and evaluates the actions of her characters, experimenting with various points of view in an attempt to define the character of her protagonist. Jacob¿s ¿room¿ is thus conceived as a ¿mental space¿ in which a modern writer¿s mind is ¿mapped¿. The central aesthetic question which is debated in this room or forum relates to the essential art of modern fiction in general and the efficiency of characterisation in fiction in particular. It is argued that Virginia Woolf probes into the epistemic question of the essence of modern man and, in an attempt to capture the essence of her protagonist, speculates on the corresponding literary question how, and to what extent, the ¿soul¿ of man can to be represented in fiction. The author uses this generic approach to the novel as a broad structuring principle for her study of Jacob¿s Room. After discussing the socio-political context of modernism in the early 20th century, including the impact of the First World War on modernist writing, she focuses her study on those aspects of Woolf¿s fiction which are deemed fundamental to the narrative strategy in Jacob¿s Room, i.e. the role and nature of Woolf¿s humour within the context of modernism; the ¿nodes¿ or clusters of metaphors and symbols recurring in the text; the role of the narrator as ¿toastmaster¿ of the debate on character and fiction in Jacob¿s Forum; the extent to which the novel parodies the ¿new biography¿ of the early twentieth century; and the extent to which Woolf transvaluates the tools of impressionist painting into modernist fiction.
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