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NEW QUESTION: 1
A construction manager is using a distributive-bargaining approach in negotiating the price of lumber with a supplier. The construction manager will:
A. Attempt to get agreement on a price within the settlement range (that is, within both the manager's and supplier's aspiration ranges).
B. Hire a mediator to negotiate the deal on behalf of the manager.
C. Concede to the supplier's asking price in order to maintain a positive working relationship.
D. State the resistance point (that is, the highest price acceptable) and ask the supplier to concede.
Answer: A
Explanation:
When using a distributive-bargaining approach, the negotiator operates with a maximum desired result (target point) and a minimum acceptable result (resistance point) in mind. If the ranges of feasible outcomes (aspiration ranges) overlap, an agreement is possible.

NEW QUESTION: 2
Click the exhibit.

Router R4 is an Alcatel-Lucent 7750 SR configured for the extranet VPRN network. Which CLI command is executed on router R4 to produce the displayed output?
A. There is no CLI command that can produce this output on router R4
B. "show router route-table"
C. "show router 20 route-table"
D. "show router 10 route-table"
Answer: B

NEW QUESTION: 3
Which XNA method allows you to build a matrix to move scene geometry on one or more axes?
A. Matrix.Invert()
B. Matrix.CreateLookAt()
C. Matrix.Determinant()
D. Matrix.Createtranslation()
Answer: D
Explanation:
http://msdn.microsoft.com/enus/library/microsoft.xna.framework.matrix.createtranslation.aspx

NEW QUESTION: 4
This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944 - just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It was
a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more
accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the
experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato
and the emperor after all, but rather began a somewhat more realistic exploration of his continuing
obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to
Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's
rapidly urbanizing, growth driven, increasingly corporate society.
Which of the following does the passage present as a fact?
A. The group of avant-garde artists of which Abe was a part were influenced by Marxism.
B. Abe was a better playwright than novelist.
C. Abe's early work was of greater quality than his later work.
D. The themes of furusato and the emperor have precluded Japanese literature from playing a major role
in world literature.
E. Abe's work is richer than his contemporaries' because he included autobiographical elements.
Answer: A
Explanation:
Explanation/Reference:
Explanation:
This question basically asks you to distinguish between the author's opinion and the basic facts of Abe's
career. Choices (A), (B), and E all contain evaluative opinions, so eliminate them. The author expresses
strong opinions about the themes furusato and the emperor, but never presents any facts about their
influence on Japanese literature in the world. The best answer is (C). The author presents it as a known
fact that young Japanese artists after World War II were interested in Marxism.