Case: Prestige Telephone Company
MGMT 505 Management Accounting II
1. Estimate the following:
a) Using information in Exhibit 2, analyze cost behavior for each expense. (Use
regression analysis or High-Low method to determine fixed and variable portion for
each expense using revenue hours as the cost driver).
b) Based on analyzed cost behavior, what level of commercial sales of computer use
would be necessary for the subsidiary to break even each month? In answering this
question, assume parent demand for services will average 205 hours per month and
ignore “Commercial Sales: Other” revenue (i.e., assume it is zero).
2. Estimate the effect on the subsidiary’s income from
a) Increasing the price to commercial customers to $1,000 per hour that would reduce
external (i.e. commercial) demand by 30% over March levels
b) Reducing the price to commercial customers to $600 per hour that would increase
external (i.e. commercial) demand by 30% over March levels

Background  

Operations Management (OM) is an important aspect of business (Slack et al, 2013; Greasley, 2013; Patton et al, 2011).  Both service and manufacturing organisations use OM to ensure they are competitive and assist in providing and maintaining good levels of customer service (Johnson et al, 2012).  Developing a system of an organisations operation can be advantageous both for both the customer and organisation (Bamford and Forrester, 2010).  Subsequently, once a system has been developed and understood it should be possible to determine why the system works well, or not well, and to recommend possible production related improvements that will assist both parties concerned.

Task

In this assignment analyse a production system (service or manufacturing based) with which you are familiar; a shop, restaurant, transport system, doctor’s surgery are all possible examples. Your tutor will give some guidance on your choice of organisation/case study. Your assignment should address the following questions:

1. Critically appraise how well the inventories and/or assets within the production system are currently managed.
2. Provide a detailed illustration of the key operations involved within your chosen production system presenting a logical operational flow.
3. From the illustration in point two, identify two points where the organisation’s delivery system may fail to align its operational performance measures, clearly demonstrating your reasoning and understanding behind this.
4. Discuss how a lean approach could be utilised in the production system to potentially reduce the failings discussed in point three.
5. Identify three key findings discussing the extent to which the lean approach chosen may assist the production system with aligning its operational performance measures.

Format

Your submission should be in a report format, being clearly structured using headings, sub-headings etc.  It is not necessary to include an executive summary at the beginning of the report.  Your submission should be presented using Times New Roman (TNR) 12 font, 1.5 line spacing, and it should be approximately 3,000 (+/- 10%) words in length.  Your word count is from the introduction to the end of the conclusion section.

You must endeavour to use theory explicitly at all stages, but do not spend too much time describing a theory. While you must be explicit about the theories, models, techniques etc. that you use, you can assume that the reader is familiar with them. What the reader requires is evidence of your ability to understand and apply the theory, and learn from in order to support the development of your findings and/or ideas.

You must cite all sources on which you have relied, for example textbooks, journal articles, web pages etc. using the Harvard Bibliographic referencing system. If you do not cite all sources, then you may be accused of plagiarism, and that in turn may endanger your success in passing the module. If you are in any doubt about how to reference your work, please obtain guidance from your tutor for this module.

Please do use diagrams, illustrations, tables, graphics etc. wherever these are helpful, and remember that these do not count towards your word limit. If you do use these, please do not put them in the appendices if they are part of your discussion.  Appendices are the appropriate places to put supporting material, however, remember if the reader is satisfied with the main points of your discussion; the supporting information within the appendices may not even be reviewed.

Marking Criteria

Your assignment will be marked against the following criteria:

1. Evidence of your ability to use Operations Management (OM) theory in order to help you think in a critical way, and to develop an understanding of how key operational decisions are made within the chosen production system.  (20%)
2. Evidence of your understanding of how different OM and Lean approaches could contribute to addressing the aim of your assignment.  (20%)
3. Evidence of your understanding of the strengths and weaknesses inherent in various OM and Lean approaches in your chosen production system. (15%)
4. Evidence of your understanding of the limitations placed upon the OM and Lean options available to your chosen production system.  (20%)
5. Your ability to convey your conclusions and recommendations in a reasoned, supported and credible manner. (15%)
6. Accurate grammatical and economical use of English.  A good presentation standard using the report format.  Appropriate citation of sources using the Harvard Bibliographic Referencing System. (10%)

The above criteria and the following grading matrix will assist in providing guidance as to the mark allocation.

Submission

As discussed previously, your submission should be approximately 3,000 words (+/- 10 %) in length.  The submission is to be in MS Word and submitted electronically via OnlineCampus.  Please ensure that:

1. Your name is clearly marked on the front of your title page.
2. You have a copy/backup of your assignment.

Please ensure you submit your work on or before the deadline (October 14^th); any late submittal will be dealt with as per University guidelines.

Thank you and Good Luck!

Dr Jonathan D Owens

References

·         Bamford, D R and Forrester, P L (2010).  Essential guide to Operations Management: concepts and case notes.  John Wiley.  ISBN 978-0-47068-816-8.

• Greasley A (2013).  Operations Management, Third Edition, John Wiley.  ISBN 978-1-11997-854-1.
• Johnston R; Clark, G and Schulver, M (2012) Service Operations Management: Improving Service Delivery, Fourth Edition, Pearson.  ISBN 978-0273740483.
• Slack, N; Brandon-Jones, A and Johnston, R (2013).  Operations Management, 7^th Edition.  Pearson.  ISBN 978-0-273-77620-8.
• Patton, S; Clegg, B; Hsuan, J and Pilkington, A (2011).  Operations Management.  McGraw Hill.  ISBN 978-0-0771-2617-9.

Learning Outcomes (from module specification) addressed in this Assignment.

Please remember your overall grade for this assignment will represent a judgement to the extent to which you have provided evidence that you have addressed the following learning outcomes offered in the module specification.

• Critically analyse the theory, concepts and models of operations and information management and demonstrate an understanding of the importance of information management in global organisations.
• Analyse and critically evaluate the ways in which operations are adapted in view of specific market culture and customer requirements, and the role and importance of operational excellence in various aspects of competitive advantage.
• Use the basic tools and techniques to plan and improve all aspects of the operations function and understand the application of the control systems that can be used for operations management in a wide variety of environments.
• Identify and utilise appropriate methods for collecting and analysing data related to operations and information management.
• Locate, summarise and synthesise a range of information from published literature and electronic sources on operations and information management.
• Use and evaluate a variety of tools for improving organisational performance
• Manage effectively their own time and learning.
• Improve their research skills, and data analysis and presentation. Manage their time to meet deadlines in both group discussions and in preparation of in-class activities

Length: three(3) pages

Poetry Explication Instructions

An explication is part interpretation, part analysis, and part explanation. Focus on the language of the poem!!

Note: You cannot write about the other poems.

To Prepare: To help you better prepare for the essay, I want you, before you begin, to print out a copy of the poem (One Art)  you are writing about and then, in the margins, summarize, word for word, what the poet is describing/discussing. I’d also like you to write down your initial reflections and analyses about what you might infer from the language of the poem (One Art). This way, before you begin writing, you will have engaged the poem closely enough to provide you with enough material to shape your initial writing direction. Note: your writing task will be much easier if you take the time to read the poem many times so that you will be very familiar with what happens in it.

What Should I Be Explicating?  In general, when explicating, one explores the text of the poem— specifically such things as the poet’s use of metaphor, simile, symbols, personification, paradox, hyperbole, imagery, form/structure, and music (alliteration, assonance, consonance, end rhyme, internal rhyme). Keep in mind, however, that one does not need to cover all of these things (nor does each poem utilize every one of these devices). It is not your job to offer a shopping list of every figurative or musical device in a poem but, instead, to closely examine those that are most relevant to the poem. I do not, for example, want you to write something like the following:

In the poem “Design,” Robert Frost uses a variation of the Italian sonnet form. The poem has the following rhyme scheme: ABBAABBA CDCCDD. Frost uses personification and symbols as well as similes. In the first eight lines of the sonnet, what is called an octave, Frost tells the reader about a white spider on a white heal-all that he encounters. In the last six lines, which are called a sestet, Frost asks several questions.

Each “item” on this list is most certainly relevant, but instead of just listing items, you need to explore each facet on its own and show your reader its relevance. For example, the discussion of the sonnet form is very useful if you are demonstrating how the poet uses the conventions of that structure to explore (a) the questions theme brought up in the poem and/or (b) how the poet addresses them.

Audience: When writing about a poem, you will struggle with choosing what to say and what not to say and what to cover in the poem and what not to cover. One can reduce the difficulties of such choices by considering who the audience for one’s paper will be. For our purposes, I want you to write as if you are writing to your fellow classmates— which means that you will be writing for an audience who is familiar with the poem. DO NOT USE “I” OR “YOU” FOR THIS ESSAY

Structure: For this essay, and this essay only, do not provide a formal introduction and a thesis statement placed at the beginning of your essay— just jump right in and explicate the poem. State your thesis in your conclusion. This way you will have argued towards your conclusion / thesis.

EX: As the poem begins, Frost encounters “a dimpled spider, fat and white” on a white heal-all (1).

Use the following for your works cited requirement (please note EXACTLY how it is formatted)

Poet’s Last Name, Poet’s First Name. “Title of Poem.” English 1B Course Reader: Spring 2017. Ed. Nathan Wirth. Novato, CA: Nathan’s Mind Inc. 2017. Print.

Outside Sources: Don’t  reference any outside sources.

Formatting: Check the formatting rule in the file “rules”

The Poems You Can to Write About:

Biographical Note for “One Art”

“There is no doubt that the crisis behind [“One Art”] was the apparent loss to Bishop of Alice Methfessel, the companion, caretaker, secretary, and great love of the last eight years of her life. Although its method is the description of the accumulation of losses in the poet’s life, its occasion is the loss of Alice.”

Source:

Millier, Brett Candlish. “Elusive Mastery: The Drafts of Elizabeth Bishop’s ‘One Art.'” Elizabeth Bishop:

The Geography of Gender. Ed. Marilyn May Lombardi. Charlottesville, VA: Virginia UP, 1993. Print.

One Art by Elizabeth Bishop (1976)

The art of losing isn’t hard to master;

so many things seem filled with the intent

to be lost that their loss is no disaster,

Lose something every day. Accept the fluster

of lost door keys, the hour badly spent.

The art of losing isn’t hard to master.

Then practice losing farther, losing faster:

places, and names, and where it was you meant

to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or

next-to-last, of three beloved houses went.

The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,

some realms I owned, two rivers, a continent.

I miss them, but it wasn’t a disaster.

— Even losing you (the joking voice, a gesture

I love) I shan’t have lied. It’s evident

the art of losing’s not too hard to master

though it may look like (Write it!) like disaster.

NOTE: MAKE SURE YOU LOOK AT THE NEXT PAGE, WHERE THE FORM OF THE VILLANELLE IS EXPLAINED This will help you to understand the specific form of this poem, which you need to know about in order to fully grasp the poem.

Villanelle: a villanelle carries a pattern of only two rhymes, and is marked most distinctively by its alternating refrain, which appears initially in the first and third lines of the opening tercet. In all, it comprises five tercets (three line stanzas) and a concluding quatrain.

One Art by Elizabeth Bishop

The art of losing isn’t hard to master;           [this line is repeated in the 2nd and 4th tercets as well as the final quatrain]

 so many things seem filled with the intent              [the ent sound is found in the second line of all the tercets and the final quatrain] to be lost that their loss is no disaster, [a variation of the idea of it not being a disaster is found in the 3rd and 5th tercets and the final quatrain]

to be lost that their loss is no disaster,                  [a variation of the idea of it not being a disaster is found in the 3rd and 5th tercets and the final quatrain]

Lose something every day. Accept the fluster         [fluster/master is a slant rhyme]

of lost door keys, the hour badly spent.

The art of losing isn’t hard to master.

Then practice losing farther, losing faster:

places, and names, and where it was you meant

to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or          [last or /master is a slant rhyme]

next-to-last, of three beloved houses went.

The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,

some realms I owned, two rivers, a continent.

I miss them, but it wasn’t a disaster.

— Even losing you (the joking voice, a gesture        [gesture/master is a slant rhyme]

I love) I shan’t have lied. It’s evident

the art of losing’s not too hard to master            [note that Bishop alters the line here]

though it may look like (Write it!) like disaster.          [note that Bishop must use the word disaster here to complete the form of the villanelle]

Slant Rhyme: a rhyme in which either the vowels or the consonants of stressed syllables are identical, as in eyes / light; years / yours.

A Sample Poetry Explication

“My Only Swerving”: An Explication of William Stafford’s “Traveling Through the Dark”

In his blank verse poem “Traveling through the Dark,” William Stafford writes about a traveler who, while driving at night, encounters a pregnant deer which has been killed by a passing car. He faces a difficult choice— should he (a) leave the dead deer on the side of the road or (b) roll her over the edge? — two choices that will result in the unborn fawn dying. The opening stanza sets this scene as if the poem is a simple story, the speaker telling us he came upon a dead deer while driving at night on Wilson River Road (which is in rural Oregon, where Stafford lived most of his adult life). The name of the road, and the reference to the canyon, clearly indicates that the road follows the same path as a river down below. This is an important detail because this is how he will be able to move the deer so that others do not have to suddenly swerve to get out of the carcass’s way and, as result, possibly die themselves:

It is usually best to roll them into the canyon: that road is narrow; to swerve might make more dead (3-4).

The matter of fact tone of “usually best” suggests he has had many similar experiences before (and, after all, hitting a deer at night out in the country is not an uncommon occurrence). The road is narrow, so there would be little room for swerving out of the way and not much time to stop (one might even imagine that the poet himself had to stop suddenly).

The fact he has taken the time to stop in the middle of the night— especially when he was not the one who had hit the deer— reflects a sense of responsibility. This responsibility is further reflected by his decision to have pulled the car in front of the dead animal and then turned down his lights (later indicated in line 13: the “car aimed ahead its lowered parking lights). He observes the scene by the “glow of the tail-light” (5) after he has “stumbled back of the car” (5) likely because it is dark and difficult to see at night with only that pale reddish light to illuminate the scene. He describes the doe as a “heap,” a choice of words which brings to mind a pile of parts left on the side of a road, indicating an animal who is now just a pile of stuff and no longer a living creature. There are many hard consonants in the first two stanzas—the d’s, c’s, b’s slowing the reading and making the moment seem a bit cold: “deer,” “dead,” “best,” “canyon,” “car,” “doe,” “cold,” “dragged,” “belly,” “stumbled,” “road,” “stiffened,” “already,” “found.” And, through this language, he knows she has been killed recently because even though she has “stiffened already” (7) she is, at that time “almost cold” (7).

But then the language warms up in the next stanza with the l’s, w’s, r’s, and s’s found in the words: “side,” “reason,” “warm,” “fawn,” “waiting,” “alive,” “still,” and “hesitated.” And, then, as he begins to drag her body, he realizes “she was large in belly” (8), the poem now shifting into a deeper significance for both the “almost cold” and the “large in belly.” He soon realizes the doe, though dead, is pregnant and her fawn is alive: “her side was warm; her fawn lay there waiting, / alive, still, never to be born” (10-11). The warmth of her belly, which clearly indicates the life of the unborn fawn is contrasted against the “almost cold” of the dead mother— and this contrast is deepened even further by the fact that the deer will never be born even if, in a sense, it is still “waiting.” The poet’s choice of “still” can be read in several different ways. First, the doe still remains alive; i.e. it simply has not yet died. Secondly, the doe is still, i.e. not moving, and lies motionless but not dead in the womb of its dead mother. Thirdly, the distance between “still” and “born” in the line is not far and one might, as a result, put the two words together and end up with stillborn. Even though this word clearly denotes being dead before born, which is not the case here, the poet has clearly stated that the fawn is laying there “never to be born.” In other words, it might as well be dead because it is never going to live.

And herein lies the crux of the moral ambiguity for the speaker of this poem. He is clearly not going to deliver this fawn. After all, he cannot perform a caesarian on the doe (nor could he likely mother the fawn). His choices are to either push the doe (and thus the unborn fawn) over the side of the road to the river canyon below or to leave them on the side of the narrow road, potentially endangering the lives of other motorists. The speaker is a thoughtful person, one who take his time to think things over, and so he hesitates. As he does so, he observes the “lowered parking lights” (13) of his car (which further illustrates how responsible he is) and listens to the “purring” of his “steady engine” (14), the red from the taillights 21 | Page making the exhaust flowing from the tailpipe glow red. This eerie glow can easily echo the red blood that is likely present on the deer as well as the soon to be spilled blood of the fawn who will never be born. Following this description, he refers to “our group” (16), whose members include himself, the deer (and its unborn fawn), and the car all bound together in that moment as the wilderness listens (“around our group I could hear the wilderness listen”).

This is a strange line, for even if one considers that the poet is personifying the wild, the wilderness truly cannot listen— yet when one is alone in the dark, in the silence, one can sometimes feel as if something is listening. But what then might the wilderness be listening for? Before any answer can be arrived at, one needs to first ponder the immediate contrast between the “wilderness”— the river, the canyon, nature itself— and the “group” formed by himself, the car and the dead doe with its unborn fawn. This contrast is also echoed by the paved road he has stopped on, the road where the deer met its demise. Reading further into this line, one might conclude that the road serves as a representation of man’s attempt to adapt nature to his needs. The river that the road follows can serve as a representation of the wilderness. In doing so, we can see a contrast between the world of the wild, which the deer and its unborn fawn belong to, and the world of civilization.

Such a reading yields a contrast that further emphasizes the moral ambiguity of the situation. Nature is not concerned about life and death. It is not sentient. It is not moral. But the speaker, and, potentially, all humans are. This road that follows the direction of the river can represent how humankind lives between the world of wilderness and civilization and, sometimes, even on the edge between the two— and, at this border, on this evening in the dark, while traveling in the dark, the poet has encountered a moment when the machines of civilization have encroached on the wilderness and resulted in the death of both the deer and soon its unborn fawn. As a result, his moral dilemma comes with the added complexity of not being one who will at least save the fawn, and, therefore, the wilderness, then, might be “listening” for his reaction or, perhaps, for his next action, his decision about what to do.

The couplet, which ends the poem, might remind one of the ways a couplet ends a Shakespearean sonnet, viz., a final two lines that look back and reflect on the rest of the poem. Once again, we see that the poet is a responsible, thoughtful individual: “I thought hard for us all” (17). Who exactly is this “all”? Certainly, it could be the “group” that he has pondered in this poem— particularly the doe and the unborn fawn. But his other concerns are for the safety of others who might drive down this road that evening and the dangers that could befall them. Indeed, he explains that his thinking is “my only swerving” (17), a choice of words that invokes both the swerving of a car in the road, done last second to avoid hitting the carcass, and the swerving of his thoughts. Perhaps there is some part of his thinking in which he wishes to save the fawn, to not simply toss it over the side of the road and sealing its fate, and, thus, his swerving is a switching and moving in-between the choice of doing nothing further and leaving the deer on the side of the road or pushing it over—which is what he, ultimately, does.

Overall, the tone of the poem is often very matter of fact, more of a narrative than a deep exploration of an ethical dilemma, but, nonetheless, contained in that narrative is a moral quandary. The poet never suggests that his choice is cruel or selfish. In the larger picture of human existence in the modern world, the poet does not point a finger at the destructive forces of civilization and its machines even though one could easily argue that the deer, and eventually the fawn, died because a human driving a car hit them. One could easily argue that fewer deer (and fawns) would be killed if we did not drive our machines through “nature” in the night, that technology comes at a cost, but the speaker does does not suggest that nature is more important than man nor does he say that man is more important than nature. Simply, the choice he makes protects other humans from any potential accidents. The deer and its fawn have died because of man, but he will not let another man die because of that accident—and, quite likely, he regrets that the fawn will die (and would have probably died no matter what choice he makes). He has made the decision that will prevent further injury and death. So, ultimately, while his thoughts have “swerved,” it is not because of his indecision but because of his sensitivity, his sense of responsibility and his thoughtfulness.

ECON 1030 – BUSINESS STATISTICS 1

PROJECT    

Instructions:

This is a group assignment with a minimum group size of two and a maximum group size of three.   All group members must be enrolled in the same tutorial.  There will be two parts to this assignment:

Part A: Group Work (A Business Report)

Part B: Individual Reflective Piece (A Ministerial Brief)

The allocation of marks:

Group members will receive a common mark for Part A and an individual mark for Part B.

The response to Part A must be provided in the form of a business report with no more than 10 pages (including cover page).  The structure of your business report must include 1] A Title, 2] An Executive Summary, 3] An Introduction, and 4] Conclusions.

The response to Part B must be provided in the form of a ministerial brief with no more 200 words containing no more than three graphs. Please clearly indicate your student ID and name for your individual work.

You must submit an electronic copy (group response to Part A & compilation of individual responses to Part B) of your assignment in Canvas. See an attached Template of your submission for more details.  Only one submission is required per group.  Hard copies will not be accepted. SHOW YOUR WORK for calculation based questions.

This assignment requires the use of Microsoft Excel.  If you have Windows, you will need to use the Data Analysis ToolPak.  If you have a Mac with Excel 2011, you may need to use StatPlus:MAC LE.

Sources used for this assignment include:

• Share prices were downloaded from Yahoo finance.

Problem Description:

The blockchain is a decentralized ledger of all transactions across a peer-to-peer network. Using this technology, participants can confirm transactions without a need for a central clearing authority (or a middle man). According to some, replacing the middle man with a revolutionary technology that is faster, cheaper and as secure will greatly improve market efficiency.

One application of blockchain technology in finance is the “cryptocurrencies”, with the best known example being “Bitcoin”. Some believe that such a secure, global, and digital currency represents the future of finance, while some are not optimistic about the future of Bitcoin and cryptocurrencies in general.

Useful links on blockchain and cryptocurrencies:

https://www.data61.csiro.au/en/our-work/safety-and-security/secure-systems-and-platforms/blockchain

https://www.pwc.com/us/en/industries/financial-services/fintech/bitcoin-blockchain-cryptocurrency.html

Your task is to evaluate recent prices of Bitcoin and based on this evidence whether individuals should invest in Bitcoin. There are two parts to this assignment, each of which is described in detail:

Part A (Group Work: 2 + 2 + 2 + 2 + 4 + 3 + 3 + 4 = 22 marks; professional report = 8 marks)

Locate the data file (Assignment Bus Stats.xls) on CANVAS.

1. Using the most appropriate type of graph to present weekly closing price of the Bitcoin and provide a general description. Hint: What are the main features of this graph, is there a trend? [Topic 1]
2. Calculate the weekly return and construct a histogram. Does the data appear normally distributed?   Is there evidence of outliers?  Hint: the formula for a return is (Current Price – Previous price)/Previous price multiplied by 100  [Topics 1-3]
3. Calculate and interpret the three aspects of Descriptive Analysis, Location, Shape and Spread, for weekly return. [Topic 1]
4. What is the empirical probability of a loss? [Topic 2]
5. Repeat the same steps (steps 1-4 above) for three share prices in the Australia Securities Exchange: BHP Billiton (BHP) from the mining sector, Commonwealth Bank of Australia (CBA) from the bank sector, and Telstra Corporation (TLS) from the telecom sector.
6. Construct a 95% confidence interval of the return to Bitcoin, and interpret the interval. How does your interval change if the level of confidence is 90% and 95% respectively, and explain why. [Topics 6-7]
7. Construct a 95% confidence interval of the return to BHP, CBA, and TLS respectively. [Topics 6-7]
8. An investment advisor claimed that the return to Bitcoin is 4% while the returns to other three shares are no different from zero. Do you agree? Justify your reasoning using a two-tailed hypothesis test approach at the significance level of 5%. [Topic 8]

Part B (Individual Reflective Piece, 10 marks)

Write a ministerial brief of no more than 200 words containing no more than three graphs on whether you can confidently recommend investing in the Bitcoin, compared with ONE of three shares: BHP, CBA, and TLS.  Each student within a group has to comment on a different comparison.

Hint: draw on the evidence you have gathered from Part A, as well as other information/evidence not covered here but you believe is useful. Please clearly indicate your student ID and name for your individual work (see Template).

Papers should demonstrate a thorough awareness of the topic as well as the ability to engage in philosophical reasoning. Late papers will be penalized at minus 5 points for the first day late and minus one point for each additional day. Papers should be no less than 1,000 words.
Outside research is not necessary, and in fact you are strongly encouraged to write this paper with nothing but the course materials and your brain in hand, but if you do use external sources you must provide complete citations. Failure to cite your sources is academic misconduct and will result in a failure of the assignment (for more information, see the academic honesty section of the syllabus and the handouts on academic misconduct and proper citations). If you have any doubts about whether your paper is properly cited, I am happy to look at it for you in advance of the due date.

The Assignment:Kayla and Jared are college sophomores who sometimes have casual sex. They have affection for each other, but neither is interested in a relationship. They always use condoms, but apparently one broke, because Kayla discovers she is 6 weeks pregnant. Kayla has not had sex with anyone besides Jared in the past 3 months, so it is certain that he is the father. Neither Kayla nor Jared is financially independent, and neither feels emotionally ready to be parents. However, they care about behaving morally, and feel like they should think carefully before deciding what to do next. They also feel that they share responsibility for the pregnancy, and so they should decide together what to do about it. The problem is, Kayla and Jared espouse different moral theories. In this paper, you’ll consider the conflict this creates and explain what advice you would give Kayla and Jared.
Part I – Kayla’s Argument:Choose a moral theory for Kayla (natural law theory, Kantianism, utilitarianism, contractarianism, or virtue theory). Explain what options are open to Kayla with regard to her pregnancy, as a proponent of this theory. (In this section, you will be evaluated based on your ability to apply the tenets of the theory to this applied bioethical issue. Reference to specific theorists and concepts we have studies will strengthen your paper).
Part II – Jared’s Argument:Now choose a moral theory for Jared (natural law theory, Kantianism, utilitarianism, contractarianism, or virtue theory, but not the same theory as Kayla), and explain why the theory he espouses leads him to see different options as available to him with regard to the pregnancy. (In this section, you will be evaluated based on your ability to apply the tenets of the theory to this applied bioethical issue. Reference to specific theorists and concepts we have studied will strengthen your paper).
Part III – Your Argument: Since Kayla and Jared don’t agree, they ask you to tell them what you would do in their situation. Give your own arguments to support your view. (In this section, you will be evaluated based on your ability to clearly articulate moral arguments in support of your position. Note: you are not helping Kayla and Jared come to a compromise, you are simply telling them what you would do if you were in their shoes).