问题 问答题

甲企业2009年12月1日的有关资料如下:
(1)部分科目余额如下表所列(单位:元)

科目名称 借方余额 贷方余额 科目名称 借方余额 贷方余额
应收账款 486100 坏账准备 5600
原材料 261000 生产成本 165400
周转材料 94000 工程物资 75000
库存商品 1455000 预收账款 1200000
委托加工物资 63600 长期借款 8000000
(2)部分债权债务明细科目余额如下:
①应收账款——A公司(借方)479700元;应收账款——B公司(借方)23400元。
应收账款——C公司(贷方)17000元。
②预收账款——D公司(贷方)1200000元。
(3)长期借款2笔,余额及期限如下:
①由工商银行借入3000000元,期限从2008年7月1日至2012年7月1日。
②由建设银行借入5000000元,期限从2006年4月1日至2010年3月31日。
(4)2009年12月甲企业发生以下交易或事项:
①持银行汇票购买材料,取得的增值税专用发票注明:价款400000元,增值税68000元。材料随即验收入库,企业存货按实际成本计价核算。
②转销无法收回的B公司原欠付货款23400元。
③向F公司销售商品,开出的增值税发票注明:价款1500000元,增值税255000元,货已发出。该批商品的实际成本为1000000元。公司已于上月预收货款1200000元,余款尚未结清。
④计提固定资产折旧,其中:行政管理部门在用固定资产应提折旧150000元,在建工程使用的固定资产应提折旧20000元。行政管理部门在用固定资产折旧额中含15000元公司为其高级管理人员免费提供的轿车的折旧费。
⑤分配工资费用,其中企业行政管理人员工资210000元,在建工程人员工资60000元。
⑥计提应计入在建工程成本的长期借款利息100000元。
⑦计提坏账准备25000元,且企业坏账准备均为应收账款所计提。
⑧企业拥有的,按公允价值模式计量的投资性房地产账面价值为2560000元,公允价值为2720000元。
[要求](1)根据资料(4)编制甲企业2009年12月有关交易或事项的会计分录。
(2)计算甲企业2009年12月31日资产负债表中“应收账款”、“存货”、“预收账款”和“长期借款”项目应填列金额。

答案

参考答案:2.
(1)2007年12月有关会计分录:
①借:原材料 400000
应交税费——应交增值税(进项税额) 68000
贷:其他货币资金——银行汇票 468000
②借:坏账准备 23400
贷:应收账款——B公司 23400
③借:预收账款 1755000
贷:主营业务收入 1500000
应交税费——应交增值税(销项税额) 255000
借:主营业务成本 1000000
贷:库存商品 1000000
④借:管理费用 15000
贷:应付职工薪酬 15000
借:管理费用 135000
应付职工薪酬 15000
在建工程 20000
贷:累计折旧 170000
⑤借:管理费用 210000
在建工程 60000
贷:应付职工薪酬 270000
⑥借:在建工程 100000
贷:应付利息 100000
⑦借:资产减值损失 25000
贷:坏账准备 25000
⑧借:投资性房地产——公允价值变动 160000
贷:公允价值变动损益 160000
(2)“应收账款”项目应填列金额=479700-(5600-23400+25000)+(1755000-1200000)=1027500(元)
“存货”项目应填列金额=(261000+94000+1455000+63600+165400)+(400000-1000000)=1439000(元)
“预收账款”项目应填列金额=1200000-1200000=0
“长期借款”项目应填列金额=3000000(元)

单项选择题
单项选择题

Passage Two

Meet the Bauls
遇见鲍尔人
Most Westerners, if they know the Bauls at all, remember the non sequitur of a couple of members of this Bengali sect standing next to Bob Dylan on the cover of Dylan’s milestone album "John Wesley Harding. " The story goes that Dylan was depressed, and his foster-father/ manager, Albert Grossman, arranged for the seer-singers to visit Woodstock to cheer up our poet laureate.
Apocryphal I would agree, if my introduction to the Bauls weren’t remarkably similar.
I’d gone to India as a recent recruit of The Dharma Bums, a group that had been invited to play the World Festival of Sacred Music in May. Unaccustomed to international travel, I got to the concert site in Bangalore dazed, sick, and terrified.
I came thoroughly awake at sound check. It’s fear that does it. Peering out at 800 empty seats at the local college auditorium, fighting with squealing mikes, a smattering of hangers-on understandably unimpressed with the wretched sounds coming from our throats. When the concert began, I settled in to my seat to suffer the humiliation of watching a whole show of spiritually advanced musicians make contact with a highest being—before we came out and sucked.
Then four men dressed in flowing golden-orange gowns sauntered onstage, smiling. They sat, acknowledging applause. The oldest and straightest was blind.
The Bauls call themselves spiritual anarchists because they declare themselves to be Hindus and true Moslems—acknowledging no contradiction. Their home base is Calcutta, the Indian city famous for its "black hole ," where everything is cut to the bone, spirituality included.
Seven months a year, the Bauls wander as musician mendicants, accepting alms for song. The remainder of the year, they return to their families and resume their "day job" of walking the cars of the hell-trains of Calcutta, performing their bloodless open-heart surgery for half-rupees and blessings.
The first of the four—the wasted remains of a handsome man—stood, commencing to wail and slowly, on bell-jangling feet, to dance. At the end of a long, thin arm he thumbed a one- stringed harp’s single note, his voice so filled with moumful joy that tears instantaneously began to splash my cheek. He seemed to cry out: "All you see before you is yours Lord, do with me what you will. " A single tooth flashed against the scarlet hole of this mouth, ecstasy-laced red eyes pinched shut, then opened again to pilot bare feet to a resting place. As he sat, we rained applause.
A smaller, more powerful black swan of a man stands. His voice, unlike his comrade’s, is virile and revved up to matinee-idol pitch. The black swan plucks out a wobbling volley, then points his pick hand straight at a member of the audience. What proceeds is a wedding of power and passion as might have caused Otis Redding to reconsider his singing career. Our applause is thunderous. He makes the prayer sign at chest, and sits.
Up rises Oedipus at Colonnus, his eyes shameless wounds, never to heal; the fourth Baul, a young drummer, takes the elbow of this guru he walks beside every day, his master now singing and smiling. With each step, the blind man comments with even greater vigor at another even more extraordinary development in this, his dialogue with GoD.The guide prods him to the edge of the stage; once there, Oedipus raises both his hands and commences to crow for joy, connecting with such power as we, the audience, cry out to tell him where we are and to thank him, almost as a lover cries in gratitude. Hearing this, he redoubles his effort. At the very edge of the huge stage, the other three are bent, whipping up a small storm of accompaniment. Oedipus suddenly twists his head halfway between heaven and earth, and straight into the hot stage lights he peers as three shrill notes shoot from his small, misshapen mouth, making it all stop. He is with God already; what remains here with us is merely a witness to the beyond.
What else matters Certainly not our performance. My only ambition at present is to be nearer the Bauls.

It seems that the mention of Bob Dylan serves as an introduction______.

A.of the Bauls

B.of a musical genre

C.to the album "John Wesley Harding"

D.to western music