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Table of Contents
Preface xx
About the Authors xxvi
1 An Introduction to Taxation 2
Setting the Stage—An Introductory Case, 3
1.1. An Introduction to Taxes, 3
1.1.1. What Is a Tax? 3
1.1.2. Evolution of the Federal Income Tax, 4
1.1.3. State and Local Income Taxes, 5
1.1.4. Employment Taxes, 7
1.1.5. Wealth Taxes, 8
1.1.6. Wealth Transfer Taxes, 9
1.1.7. Consumption Taxes, 10
1.1.8. Tariffs and Duties, 12
1.2. Types of Tax Rate Systems, 12
1.2.1. The Progressive Tax Rate System, 12
1.2.2. Proportional “Flat” Tax Rate, 14
1.2.3. Regressive Taxes, 14
1.3. Characteristics of a Good Tax, 15
1.3.1. Equity, 15
1.3.2. Economy, 17
1.3.3. Certainty, 17
1.3.4. Convenience, 18
1.4. The Taxing Units and the Basic Income Tax Model, 18
1.4.1. The Basic Tax Model, 19
1.4.2. Trusts and Estates, 26
1.5. Choice of Business Entity, 27
1.5.1. Sole Proprietorships, 29
1.5.2. Partnerships, 30
1.5.3. C Corporations, 32
vii
1.5.4. S Corporations, 33
1.5.5. Comparing Business Entity Attributes, 34
Revisiting the Introductory Case, 36
Summary, 36
Key Terms, 37
Test Yourself, 37
Problem Assignments, 38
Answers to Test Yourself, 42
Key Terms, 85
Test Yourself, 86
Problem Assignments, 86
Answers to Test Yourself, 92
Appendix: Authorities for Sample Research Problem, 93
PA RT IV Property Dispositions
Summary, 445
Key Terms, 446
Test Yourself, 446
Problem Assignments, 447
Answers to Test Yourself, 457
Appendix: Corporate Reorganizations, 457
PA RT V Business Taxation
PA RT VI Wealth Taxation
Index 619
FOCUS
This text is designed for a one‐semester introductory tax course at either the undergraduate or
graduate level. It is ideal for an MBA course or any program emphasizing a decision‐making
approach. This text introduces all tax topics on the CPA exam in only 12 chapters.
TAX PLANNING
The importance of tax planning is emphasized throughout the text. Margin icons are woven into
each chapter to highlight planning opportunities. Tax planning strategies are introduced early in
Chapter 2 along with the impact of taxes on cash flow.
xx
LEARNING OBJECTIVES
Each chapter begins with learning objectives for that specific chapter as well as a basic introduc-
tion to the included topics, emphasizing why decision makers need to understand these topics.
Each chapter is organized by learning objective making is easy to identify relevant topics.
EXAMPLES
Rigorous topics are tackled through numerous simple but realistic examples.
When Alex Rodriguez, the former Texas Rangers shortstop, lived in Texas (a state with no Example 1.1
individual income tax), he owed more than $271,000 to California (which assesses a nonresident
income tax) for games he played in that state during baseball season. It was estimated that if the
Rangers had played all their games at home, A‐Rod’s state tax bill could have been reduced by
more than half a million dollars a year. When A‐Rod switched to the New York Yankees, his state
and local tax burden increased dramatically. On the $155 million that A‐Rod was to be paid over
his seven‐year contract, he was expected to owe $3.57 million to New York City and an addi-
tional $6.19 million to the State of New York for income taxes. His tax burden increased further
when he renegotiated his contract in a deal worth $275 million over ten years.
KEY CASES
Key Cases bring real world applications into the classroom.
KEY CASES In 2008, actor Wesley Snipes was sentenced to 3 years in prison for willfully
failing to file tax returns for years 1999–2004, a period in which he earned more than $38 mil-
lion. Following an unsuccessful appeal, he served his sentence in a medium‐security prison in
Pennsylvania.
In December 2014, Representative Michael Grimm, who had been recently re‐elected to his
third term in Congress, resigned from Congress after agreeing to plead guilty to felony tax fraud.
The indictment alleged that he kept two sets of records for a restaurant he previously owned con-
cealing more than $1 million in gross receipts and underreporting his employees’ wages to avoid
federal and state taxes. He faced up to 30 months in prison.
EXPANDED TOPICS
The Expanded Topics section included at the end of Chapters 3, 4, 6, 11, and 12 contains more
advanced topics for instructors who wish to challenge their students. These advanced discussions
relate to the other material within the chapters, but which our adopters and reviewers have indi-
cated could be omitted to allow more time for the more critical material.
SUMMARY
Each chapter closes with a Summary of the most important topics introduced in the chapter, rein-
forcing important concepts for students.
KEY TERMS
A list of Key Terms is included at the end of each chapter. They appear in bold print and are keyed
to the first page on which the term is discussed.
TEST YOURSELF
Each chapter includes a Test Yourself section of five multiple‐choice questions for students to
assess their understanding of topics covered in the chapter. Answers to these questions follow the
end‐of‐chapter materials.
PROBLEM ASSIGNMENTS
More than 60 problems are included at the end of each chapter. Check Your Understanding
includes a wide variety of noncomputational questions that review the topics included in the
chapter. Crunch the Numbers presents quantitative problems covering the computational aspects
of chapter materials. Comprehensive problems integrate topics covered in several different
chapters.
CHAPTER APPENDICES
End‐of‐chapter appendices introduce topics not typically covered in a first tax course including
corporate reorganizations and taxation of nonprofit entities. These materials are placed in chapter
appendices to allow instructors the flexibility to include or omit them as deemed appropriate.
UP-TO-DATE
This text has been completely updated for all recent legislation and for all IRS pronouncements
available as of April 2016. In addition, reference has been made to pending legislation that could
affect text material where appropriate.
ORGANIZATION
This text is ideal for schools with only one required tax course. Its 12 chapters can be covered in
one semester, with time for assessments, eliminating the need to omit chapters. The text empha-
sizes tax planning to stimulate students’ thinking in terms of the effect taxation has on decisions
for both individuals and entities
There are two introductory chapters in Part I. The first chapter includes a brief introduc-
tion to the different types of taxes and introduces Adams Smith’s Canons of Taxation that can
be used throughout the text to evaluate specific tax legislation. To emphasize to students the
decision‐making focus of this text, the first chapter introduces simple problems on the choice of
business entity and provides an easily understood background for the more complex material to
follow. The second chapter covers tax compliance issues and the basics of tax research. A sample
research problem (with sources included in an appendix) is included that can be used to guide
students in performing basic tax research at any time during the course.
Part II has three chapters that cover income and expenses, as well as other topics needed for
individual return preparation. Chapter 3 answers the question, “What is income?” by exploring
the various facets of taxable and nontaxable income for entities as well as individuals. Chapter 4
introduces an example of a dual planning orientation (the two sides to any transaction) with
the discussion of employee compensation, a subject often relegated to the end of a text where,
where we are more than half-way from Du Bartas and Aubigné to Victor
Hugo. The mere image—this new “vision of the guarded mount,” with the
black Furies silhouetted against the flaming cone, and the explosions of
the volcano deepening the bugle-call to massacre—is fine: the means
taken to make it poetical are finer. The use of the proper names, and the
cunning arrangement of epithet and noun in noires Euménides and
Vêpres homicides, and the sharp blasts of the long and short o's in the
second line, are more than Hugonian, they are positively Miltonic: and the
couplet will serve to keep a man in Mr Arnold’s “torpid and dismal” stage
of later middle life cheerful for an evening, and whensoever he
remembers it afterwards. True, Fontenelle admits demurely that he knows
“vespers” and “Eumenides” are something of an anachronism in
conjunction, and proposes a slight alteration to suit this objection of
“correctness.” But this is his way; and the wonderful thing is that he
should have admired it at all—should have actually tasted this heady
wine of poetry. As he finishes the paragraph in his own quaint style,[656] “Il
était bien aisé, même à de grands poètes, de ne pas trouver” this couplet:
and in his time it would have been still easier even for great critics not to
do justice to it, and not to see that it is to these things “so easy for the
poet not to find” that it is the critic’s business to look.
The general remarks on Comedy which he prefixed to a collection of
his efforts in that kind are not negligible; but in those on Eclogue,[657] and
still more in the Digression sur Les Anciens et Les Modernes, the curse,
or at least the gainsaying, of the Quarrel is upon him, and the main drift is
not merely digressive but aggressive and excessive. In the Digression he
anticipates (as he did in so many things) the materialist-rationalist
explanations of the later eighteenth century by climate, fibres of the brain,
&c. Here he becomes scientific, and therefore necessarily ceases to be of
importance in literature.
But he always regains that importance before long—in his Discourse of
the Origin of Fable, in his Academic Discourses and Replies, in many a
fragment and isolated remark. Even in his Eloges—mostly devoted (there
are nearly two volumes of them) to scientific personages from Leibniz and
Newton downwards—the unconquerable critical power of the man shows
itself, subject to the limitations noted. The world is sometimes not allowed
to know anything of its greatest critics, and Fontenelle is an example of
this. But those who have won something of that knowledge of criticism
which it is the humble purpose of this book to facilitate, will not slight the
man who, at the junction of the seventeenth and eighteenth centuries,
could flirt in the face of Ancients and Moderns alike the suggestion (which
Mr Rigmarole doubtless borrowed from him) that all times are “pretty
much like our own,” and could see and hear the sable sisters sounding
the tocsin on the flaming crest of Mongibel.
Fontenelle is elusive, but comprehensible by the imagination. La Motte,
[658]
his inseparable companion in the renewed sacrilege of the Moderns,
seems an easier, but is really a harder, personage to lay hold of. It is
La Motte. indeed not extremely difficult to explain his attitude to the
Ancients by the fact that he knew no Greek; and his
exaltation of prose by a consciousness (wherein he has left a family by no
means extinct) that his own verses were worth very little. But it is so easy
not to write verses if you cannot; and not to write about Greek if you do
not know it! And the problem is further complicated by the facts that at
least some judges, who are not exactly the first comers, such as
Fontenelle himself and Voltaire, maintained that La Motte could write
verses,—and that, so far from being “a fellow who had failed,” he had
obtained the greatest scenic success of the early eighteenth century with
Inès de Castro, and, what is more, had deserved it. But for once, as also
again in Pope’s case, the dangerous explanation of physical defects and
constitutional weakness seems to have some validity. The invulnerable
nonchalance of his friend Fontenelle had met the damnation of Aspar by
a cool tearing up of the piece, and an undismayed advance upon the fate
of the plusquam semel damnatus; La Motte, at twenty or at little more, felt
the similar misfortune of Les Originaux so severely that he actually went
to La Trappe for a time. Before middle life he was blind and a cripple. The
irritability which did not show itself in his temper (for he was the most
amiable of men) would seem to have transferred itself to his literary
attitude, not affecting his politeness of expression, but inducing a sort of
“rash” of paradox.
To trace the vagaries of this might not be unamusing, but would
His “Unity of certainly be excessive here. La Motte, it seems to me,
Interest.” had considerably less natural literary taste than
Fontenelle; and of the controversy[659] (it was not his antagonist’s fault if it
was not a very acrimonious one) between him and Madame Dacier one
cannot say much more than that the lady is very aggressive, very erudite,
and very unintelligent; the gentleman very suave, rather ignorant, and of
an intelligence better, but not much better, directed; while both are
sufficiently distant from any true critical point of view. Yet once, as was
not unnatural in the case of a very clever man who was at least
endeavouring to form independent conclusions, La Motte did hit upon a
great critical truth when,[660] discussing the Three Unities, he laid it down
that there is after all only one Unity which is of real importance, and that
this is the “Unity of Interest,” to which all the others are subsidiary, and
but as means to an end. “Self-evident,” some one may say; but in how
many critics have we found the fact acknowledged hitherto? and by how
many has it been frankly acknowledged since? That the aim of the poet is
to please, to satisfy the thirst for pleasure—that is to say, to interest—all
but the extremest ethical prudery will admit. But critics, especially
classical and neo-classical critics, have always been in the mood of