Influence Of The British Colonial Empire During The Mid...

During the mid 1650s, tensions between Spain and Britain were high and Britain was looking for a way to gain a basis of operations in the Caribbean. Through this, it would be easier for Britain to weaken the influence that Spain held over the New World. In 1654, a fleet sailed from England with the goal of capturing the island of Hispaniola. This effort proved unsuccessful, and the fleet was reluctant to return to Britain empty handed. The Spanish defenses at Jamaica were low which made the invasion of the island successful. Once the British had taken over Jamaica, they were able to develop a powerful colony with a commercial background based first on privateering and trade, and later on though sugar plantations and slavery. It was because of these institutions that helped the British colonial empire to become more powerful than that of any other nation at this time. Though Jamaica was not the original target for capture during the Anglo-Spanish war, it soon proved to be one of Brita in’s most valuable colonies. Spain held the main sphere of power in the West Indies during the mid 1600s, controlling many of the islands. With this came a massive trade network and a large amount of political influence. All of this was not something the Britain was going to let slip away. What she needed was a base of operation in the West Indies from which the British could begin to interfere in Spanish affairs and gain part of the wealth that Spain was earning in the Americas. Following theShow MoreRelatedRethinking Mercantalism Essay15042 Words   |  61 PagesRethinking Mercantilism: Political Economy, the British Empire, and the Atlantic World in the Seventeenth and Eighteenth Centuries Author(s): Steve Pincus Reviewed work(s): Source: The William and Mary Quarterly, Vol. 69, No. 1 (January 2012), pp. 3-34 Published by: Omohundro Institute of Early American History and Culture Stable URL: http://www.jstor.org/stable/10.5309/willmaryquar.69.1.0003 . Accessed: 06/09/2012 12:18 Your use of the JSTOR archive indicates your acceptance of the TermsRead MoreRevolutionary Changes in the Atlantic World, 1750–185010951 Words   |  44 PagesRevolution: The Eighteenth-Century Crisis A. Colonial Wars and Fiscal Crises 1. Rivalry among the European powers intensified in the early 1600s as the Dutch Attacked Spanish and Portuguese possessions in the Americas and in Asia. In the 1600s and 1700s the British then checked Dutch commercial and colonial ambitions and went on to defeat France in the Seven Years War (1756–1763) and take over French colonial possessions in the Americas and in India.Read MoreOne Significant Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 PagesAutotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning of the New York City Landscape Gerda Lerner, Fireweed: A Political Autobiography Allida M. Black, ed., Modern American Queer History Eric Sandweiss, St. Louis: The Evolution of an American Urban Landscape Sam WineburgRead MoreInstitution as the Fundamental Cause of Long Tern Growth39832 Words   |  160 Pagespolitical, social, or economic.† Of primary importance to economic outcomes are the economic institutions in society such as the structure of property rights and the presence and perfection of markets. Economic institutions are important because they inï ¬â€šuence the structure of economic Although some recent contributions to growth theory emphasize the importance of economic policies, such as taxes, subsidies to research, barriers to technology adoption and human capital policy, they typically do not presentRead MoreHistory of Social Work18530 Words   |  75 PagesHistory through Historical Phases Understanding History through Historical Phases History of Social Work – UK USA Social Work during primitive stage (before 1200 AD) Social Work during 1200 -1500 A.D Social Work during 1500 – 1600 A.D. Social Work during 1500 – 1600 A.D. Social Work during 1600 -1800 A.D. Social Work during 1800 -1900 A.D. Social Work during 1900 onwards Tofler‟s Agricultural Society: special values about caring for individuals evolve. Emergence of unconditional charity toward

Rhetorical Analysis of Constance Ruzich’s Article Free Essays

Paul Lucas Professor Paisley Mann English 110B 19 October 2012 A Rhetorical Analysis of â€Å"For the Love of Joe: The Language of Starbucks† In the journal article â€Å"For the Love of Joe: The Language of Starbucks† (2008), Constance M. Ruzich analyzes the success and rise to popularity of The Starbucks Coffee Company around the globe. The article is written and structured for the general public to read and understand. We will write a custom essay sample on Rhetorical Analysis of Constance Ruzich’s Article or any similar topic only for you Order Now It is meant to be an informative article and as such, Ruzich makes use of a lot of data and includes citations from a variety of other academic sources. She also uses different ways to measure the popularity of Starbucks, not just the financial aspect, but also in terms of its economic status in a global coffee market, just to give us different points of view in relation to her thesis. Her choice in the title is also very appropriate for the topic, which will be discussed later on in this paper. Ruzich begins her article by giving the readers a brief background on coffee. She is informing us, the readers, on how coffee came about and touches on the â€Å"The history of coffee production, consumption and advertising†¦ (428). Through this, those who are unfamiliar with the origins of coffee will also be captured, as they will get a sense of understanding about where her arguments will lead to later on in the article. It also gives the readers a chance to compare on how coffee was perceived by global consumers, before and after Starbucks was established. She explains, â€Å"The nineteenth century saw the rise of coffee as an inte rnational commodity and the accompanying development of coffee-based economies in South America and other developing nations†¦ † (430). Upon capturing the audience, she starts to state a lot of facts and she extensively uses quotations from other studies throughout the entire article. The facts become the structure of the article; they lead the readers to have a certain understanding of previous views and studies of the situation. The quotations on the other hand gives the author credibility, the use of the quotations makes it seem to be more accurate since she is not the only one who understands Starbucks in that manner and the readers are assured the information is unaltered. For example, in her discussion on the world’s coffee market, she quotes Wild citing, â€Å" ‘Vietnam had become the world’s second largest coffee producer after Brazil. ’ further depressing the falling price of coffee in the international market (Wild 6)†¦ † (430) She is in a way borrowing the credentials of scholarly and more popular people to make what she is discussing more acceptable to the audience. It also shows how knowledgeable she is of the topic that she can use these quotes to present and defend her thesis. The vast use of technical data would also make it seem that it was not written for the general public but she interprets them and puts it in terms more common to the public and through this, anyone could comprehend with what her idea is. Another thing that is evident in the article is how Ruzich compares Starbucks with a lot of its competitors, even those that are not directly competing with Starbucks; they are in the coffee business but they only sell instant coffee as opposed to specialty coffee. For example, she supports her argument by providing statistics of coffee in the global market and how Starbucks places given its premium status. â€Å"Despite the attention the Starbucks has drawn, it has not yet reached the status of a major player in the world markets, and in the United States, Dunkin’ Donuts still sells more coffee than any specialty coffee retailer† (431). This was a fact during the infancy stage of Starbucks. Besides from this, she measures the company’s success in how little advertising it needed to become one of the leading specialty coffee house. Indeed, the company spent less than $10 million on advertising in its first twenty-five years† (qtd. in Pendergrast 378). Which clearly shows, Starbucks’ advantage towards the other coffee retailers. The title she gave for the article, â€Å"For the Love of Joe: The Language of Starbucks†, is as I said in the introduction, appropriate, particularly her use of the word â€Å"J oe†. â€Å"Joe†, according to the New Oxford American Dictionary, has two possible meanings. It can either be interpreted as coffee or the average person. Her article basically revolves around these two meanings of â€Å"Joe† and how they relate. In the article she studies how the average person or â€Å"average joe†, if you will, reacts or has reacted to Starbucks’ influence and practices of personal consumption. Therefore, this brilliant way of presentation has made it easy to remember the main topic since it can all be associated with just one word. With all these literary devices and techniques used, it is not hard to stay on the same track as Ruzich. The readers will more or less be able to reach the same conclusion and have the ame idea as she has. The article has clearly shown that many people have adapted Starbucks’ use of in-store language and it makes them feel like they belong. In truth however, the use of in-store language is an advertising scheme that has the end goal of manipulating, persuading and selling its well-known products to the â€Å"average joe† consumer (440). In-store languag e is used to implant the idea of Starbucks into the consumer’s mind. Works Cited Ruzich, Constance M. â€Å"The Journal of Popular Culture. † Journal of Popular Culture. 41. 3 (2008): 428–442. Print. How to cite Rhetorical Analysis of Constance Ruzich’s Article, Papers

Art Under Napoleon free essay sample

In 1794 Jacques-Louis David barely escapes death, due to his connections in the revolutionary war. He stood trial and went to prison. After his release he worked hard to reconstitute his career. The highlight of his career is when Napoleon asked Jacques-Louis David to work for him. Of course David accepted. Napoleon knew that David was a very accomplished artist, whom style was Neoclassical-Idealist painter. Napoleon favored painting of the classical times and of the Roman renaissance masters (Kleiner 2006). In reading, we will compare paintings by David, The Oath of Horatti and the Coronation of Napoleon. He also conquered enlightenment, so each subject matter to be of a moral, noble standing and conflict. David was born in Paris on August 30, 1748. His well to do parents sent him to school with the rococo manner, his eminent painter Francois Boucher, to whom David was apparently distantly related. Perhaps because of his own advancement David study under Joseph Vien, a painter who had been attracted by the new wave of interest in antiquity while study in Rome. In 1771 David won second place in the Prix de Rome completion. It was not until 3 years later and after some severe mental frustrations that he won the first prize for the painting Antiochus Dying for Love of Stratonice (Anonymous, 2011). David went to Rome in 1775 in the company of Vien; David studied the ancient architectural monuments, marble reliefs and freestanding statues. In addition, he strove for a clearer understanding of the classical principles under laying the styles of the Renaissance and baroque masters Raphael, the Carracci, Domenichino, and Guido Reni. He was admitted to the French academy in1783 with his painting, Andromache by the Hector (Anonymous, 2011). When the French war broke out in 1789, David threw in his lot with the Jacobins, the radical and militant revolutionary faction. He accepted the role of de facto minister of propaganda; He arranged political pageants, and ceremonies that included floats, costumes, and sculptural props. David believed that art could play an important role in educating the public and that dramatic paintings emphasizing patriotism and civic virtue would prove effective as rallying calls. However, rather than continuing to create artworks focused on scenes from antiquity, David began to portray scenes from the French Revolution itself. David intended Death of Marat not only to serve as a record of an important event in the struggle to overthrow the monarchy but also to provide inspiration and encouragement to the revolutionary forces. A writer friend of David’s was tragically killed; he depicted his friend’s death into that portrait (Kleiner, 2006). His friend was named Charlotte Corday (1768-1793) a member of a rival political faction, stabbed him to death in his medicinal bath. (He suffered from a painful skin disease. ) David presented the scene with directness and clarity. The cold neutral space above Marat’s figure slumped in the tub produces a chilling oppressiveness. The painter vividly placed narrative details-the knife, the wound, the blood, the letter with which the young woman gained entrance-to sharpen the sense of pain an outrage and to comfort viewers with the scene itself. Death of Marat is convincingly real and yet David masterfully composed the painting to present Marat as a tragic martyr who died in the service of the revolution (Kleiner, 2006). The following year David returned to Rome to paint Oath of Horatti, a work in which immediately acclaimed a masterpiece both in Italy and in France. There are more to come within the next five years. With the French revolution in full swing, David for a time stopped painting with his classical approach and began to paint scenes describing contemporary events. David began to paint martyred heroes in the fight for freedom (Galitz, 2004). Napoleon hired Jacques-Louis David to paint for all his empire desires and aspirations. These paintings were emotional works of art, not only did David portray the feelings of the characters inside the paintings perfectly, and he was also able to create deep emotions with his audiences as well. Unfortunately David’s paintings showed wars and the results of them were brutal. David’s most famous paintings of the time were the Oath of Horatti and Coronation of Napoleon, and they were obviously painted for political propaganda purposes because of their content. Napoleon Bonaparte was born in France in the year of 1769 and grew up to over throw the Monarchy. In 1799, after serving in various French army commands, including major campaigns in Italy and Egypt, Napoleon became first consul of the French Republic, a title with clear and intentional links to the ancient Rome Republic. In May 1804, he became the King of Italy. Napoleon was very aware of David’s talents. He knew David had a sharp â€Å"understanding of cult of political personality and the sophisticated craft of shaping public image† (Anonymous, 2001). The Coronation of Napoleon was the name of the painting done for the new Emperor of France. The celebration was held at the Paris’s Notre-Dame Cathedral on December 1804 (Kleiner, 2006). In the painting, David, has painted the Pius lifting his hands in a half-hearted blessing gesture. He also lowers the Popes chair so that Napoleon’s would appear relatively larger, with his back symbolically turned towards the dwarfed and older man. It also included 150 guests from pomp and pageantry, to help in celebration. In this painting Napoleons mother was late arriving in Paris (in time to miss it) but Napoleon, instructed David to paint her in. David painted Josephine (Napoleons wife) with her kneeling to receive her crown. David does make other adjustments to the paintings to make her look better for his works. David conceptually divided the painting to reveal polarities. David painted the pope, priests, representing the Catholic Church on one right, contrasting with members of the Imperial court on the left. For the painting commemorating the occasion, the emperor insisted that David depict the moment when, having already crowned himself which create more tension between state and church Napoleon placed a wreath upon his wife’s head, further underscoring his authority even more (Galitz, 2004). This focus on Josephine’s crowing, some historians believe, was also away to highlight the future of Napoleonic Empire. This was the woman after all, who would (theoretically) bear Napoleon’s heir. To that end, David painted the 41 year old Empress to appear much younger than she does in a far more sensitive, intimate pencil sketch. When a visitor to his studio noted that David had made Josephine look in the final painted version-where she loses the double chin from the tender drawing-the painter retorted: â€Å"Eh bien, allez le lul dirre! (Yeah? Go tell that to her that) (Anonymous, 2011). Others in attendance of the festivities and the painting was, besides Napoleon and his wife Josephine and Pope Pius VII others were Joseph and Louis Bonaparte, Napoleon’s ministers, the retinues of the emperor and empress, and a representative group of clergy, as well as David himself, seated among the rows of spectators in the balconies. Despite the artist’s apparent fidelity to historical fact studies show that David made adjustments to his drawing at Napoleons request. An example, he had David paint the pope’s hand in a blessing position, and his mother to be painted in the center background when in fact she was not in company (Kleiner, 2006). Although David had to incorporate numerous figures in lavish pageantry in his painting, he retained the structured composition central to the Neo-classical style of painting. Like his Oath of the Horatii, David presented the action as if it were on theater stage, which in this instance it is literally the case, even if the stage Percier and Fontaine constructed was inside a church. In addition, as he did in his arrangements of men and women in the Oath of Horatii. David conceptually divided the painting to reveal polarizers (he divided them into sections. ) The pope, prelates, and priests representing the Catholic Church appear on the right, contrasting with members of Napoleon’s Imperial court on the left. The relationship between church and state was one of this period’s most contentious issues. Napoleon’s decision to crown himself, rather than to allow the people to perform the coronation, as was traditional, reflected Napoleon’s concern about the power relationship between church and state. For the painting commemorating the occasion, the emperor insisted that Napoleon places a crown on his wife’s head, further underscoring his authority. Thus the painting represents a visual document in the tradition of history. It is also a more complex statement about the changing politics in Napoleonic France (Kleiner, 2006). Artists also will use devices to help in the development of a painting. Some use dramatic, mythology, poetry, and situations for ideas. When painting, no one model (figure) is dominate. They will even hire models to pose for them; it may take hours maybe even days of sitting in the same place in the same pose before the artist is finished. They will make their own props; by sewing clothing or hats to make a scene complete. David having had experience with the military and now working with Napoleon had the tools and experience for his first place painting the Oath of Horatii which brought him much fame and fortune (Haggo, 2010). David’s painting of the Oath of Horatti was completed in 1784. David embodies the neo-classical style in this painting as well as the Coronation of Napoleon. The Oath of Horatti illustrates the event written in the Livy’s history of Rome. This painting was an instant success and was proclaimed â€Å"the importance of reason and the intellect over and above feeling and sentiment, and it defended the ideals of male and self- sacrifice in the interest of one’s country† (Tate, B. 2011). In the painting of the Oath of Horatti, we look upon a scene in ancient Rome, In a Roman families’ dispute. David presents the sons individuals by stressing differences in facial features and uniforms. But the threat to their country demands the suppression of individually. To underline the son’s solidarity, David gives them almost identical poses. We come to the house of Horatti, with three brothers are standing together hulled in a group silent and calm (neoclassic) muscular, and toned, and instructed with the belief that State First, the three brothers arms stretched out and fingers are just millimeters way from the blades that are held out by their father to ready for war, they are about to fight the Curiatii Family to decide war between the nations (Haggo, 2010). The bearded father stands in the middle in a red cloak, legs flexed to keep his balance while holding the massively sharp swords, facing his three sons. He stands with authority and pride. Then our eyes naturally move to the next focal point, which being the next large group of huge swords that the Horatius Father holds in his expansive arms. Horatti address his sons independently stressing their facial features and uniforms that each wore. But a threat to their country demands the suppression of individually to underline the son’s solidarity. David gives them almost the same position and one brothers hand on the others waist (Kleiner, F. 2006). In the front to the left of the painting is a groups of women huddled together these women are dressed in silken garments seemly melting into tender expressions. Their despair is partly due to the fact that they may lose one or all their men in battle. One of the Horatti men was married to a Curiatii women sitting on the bench, a sister was engaged to the Curiatii man. Then in the back in the dark a woman is sitting in the dark and tries to hide a child’s face from what would be happening with just one word. The woman behind in the corner with the young child is said to be the mother to the three men, and the grandmother to whom she holds a small child in a protective manner, suggesting fright of the present surroundings. Unlike Horatti who is willing to sacrifice his family in exchange for state (Haggo, 2010). There was scarcely a young painter of the following generation who was not influenced by David’s style, a style which had within it such diverse aspects as classicism, realism, and romanticism, and humanism among his foremost pupils, each of whom developed various different facets of his style, was Antoine Jean, Baron Gros, Pierre Narcisse Guerin, Francois Gerard, Girodet de Roucy-Trioson, and perhaps most important, Jean-Auguste-Dominique. In portraiture, the carefully molded and polished surfaces of works by Gerard, Gros, and Girodet-all students of David reflect the legacy of their master. In his 1823 portrait of Madame Reizet, Girodet, whose portraits were in great demand, convincingly renders the varying textures of fur, velvet, lace, and flesh, creating a smooth surface with no visible brushwork. Yet another Davidian, Ingres, who was briefly in David’s studio in the late 1790’s, would transform his master’s neoclassical portrait model in the nineteenth century. While the precise draftsmanship of his portrait drawings attests to his training under David, the stylized contours and anatomical distortions characteristic of his painted portraits subvert David’s Model. In his pair of portraits of the LeBlanc’s, Ingres flattens forms and elongates limbs; such stylized abstractions counter the almost hyperrealism of such fabrics as the cashmere shawl and tulle sleeves. He creates a similar dialogue in his portrait of the princess de Broglie of 1853 the virtuoso rendering of the multiple folds of her silk skirt, the tufted damask chair, and the marabou feathers of her hair ornament counters the mannered elongation of her arms, her seemly boneless fingers, and her idealized face (Galitz, 2004). By the 1820’s the new romantic style, with its free handling of paint and expanded repertoire of subjects, offered an alternative to Davidian neoclassicism. David himself has been exiled to Belgium in 1816, where he died in 1825, and his studio was run by his loyal pupil Gros until his own death in 1835. In pursing the stylistic alternative that Romanticism offered, French, artist looked beyond their borders, emulating British prototypes, particularly in landscape and portraiture. In addition, the boundaries between Neoclassicism and Romanticism blurred, as evidence in the works of many of David pupils. By 1840, then, the emergence of an artist such as Theodore Chasse Riau, whose hybrid style fuses Davidian classicism-which he learned in Ingres’ studio-with the Romantic painterliness and exotic subjects of Eugene Delacroix, captures the contradictory stylistic impulses of his generation (Galitz, 2004). With Bonaparte’s defeat at waterloo and the subsequent restorations of the Bourbons, aid tried to retreat into quiet seclusion, but his earlier politician affiliation and more particularly, his actions during the heat of the Revolution were not calculated to warm his relations with the new rulers. He was declared persona non grata and fled. After short time he settled in Brussels, where he continued to paint until his death on Dec. 29, 1825. His family’s urgent request that his ashes returned to France was denied. To the drawings, fans of all things shinny will enjoy the display of regalia, swords, and scepters used in the actual ceremony. Most of these the heavily symbolic objects were supposed to have belonged to the emperor Charlemagne himself. This was another politically expedient, if not entirely accurate link to the past. The whole event with its carefully elaborated references to both past and to the future-took five hours and demanded several costume changes by the Emperor. The white satin tunic that Napoleon wore while the pope anointed his head and hands in oil (the part of the ceremony to which Le Sacre actually refers) is here, but the Imperial robes and gold Laurel wreath depicted in the painting were intentionally destroyed in1819. Only one leaf from the original crown remains, encased like a saint’s relic. In 1819, the cult of personality that Napoleon had masterfully created was too dangerous for his Bourbon successors to have his holy relics lying around. But 200 years later, we can marvel as its creation from safer – and enormously edifying distance (Anonymous, 2011). As we come to the end of our journey looking into some of the works of Jacques-Louis David, we find that he painted, and sketched over hundreds canvas. The two masterpieces that that are here in these few pages were those painted under royal patronage and for his country. Even though it would be two years before the revolution, his painting Oath of the Horatti became semiofficial voice of the French Revolution because the painting shows country before family. The voices of France say Napoleon â€Å"He is a symbol of France and the origin of our law†. His reign did not last, but not without many men who lost their lives. David, as a craftsman of his trade he used different devices and techniques to accomplish his works. David went on to be a phoenix-like recovery and become Napoleons image maker. David painted both painting with state before family, he became something even with the mistakes he made in 1794, and Jacques-Louis David barely escapes death, due to his connections in the revolutionary war. He stood trial and went to prison and almost lost his mind. After his release he had to work hard to reconstitute his career. That is exactly what he did, and he will be forever History for his fine works of Art.

Stephen Zamucen of Zamucen Curren, LLP Case study

The subject of this PowerPoint presentation is Stephen Zamucen. He works as a forensic accountant at a firm he co-founded alongside Daniel Curren. The firm is known as ZC, LLP and is located in Irvine, California. ZC’s operations traverse many states in the Western region of the United States.Advertising We will write a custom assessment sample on Stephen Zamucen of Zamucen Curren, LLP: Case study specifically for you for only $16.05 $11/page Learn More The private enterprise focuses on business valuations, forensic accounting, cash flow analysis, goodwill valuations, family law, economic damages and good will valuations. As indicated above, the enterprise has mixed both criminal and civil cases in their operations. In particular, ZC, LLP has been in a position to integrate financial accounting, valuation activities, and make litigations. Other than its head office in Irvine, the enterprise has institutional locations in other western cities incl uding San Diego, San Francisco, Los Angeles and Las Vegas. The rationale is that the firm has been in a position to recruit competent experts who specialize in specific areas of operation. ZC, LLP has a team of six members who work together to ensure that the company meets its objectives. Stephen Zamucen specializes in valuation, fraud examination, financial forensics as well as all other aspects of accounting (Nigrini 72). Daniel Curren is a specialist in business valuation. He performs economic and other financial roles. Robert Plante specializes in many aspects of forensic accounting including cash flow analysis economic valuation, consolidation and other activities regarding internal control. Will Hanson is an IT auditor and provides the enterprise with the needed expertise to deal with all matters that relate to forensic accounting. Other experts are Patricia Benedetti and Susie Le who have similar qualifications in the field of forensic accounting (Pasco 17). Zamucen is a reco gnized specialist in the field of forensic accounting and fraud investigation among many other fields. He studied Bachelor of Arts degree in the University of California. He received an MBA and specialized in the field of finance from Santa Clara University. In addition, he is a certified public accountant, valuation analyst, fraud examiner, financial forensics and a chartered global management accountant. He is also a professor at the University of Irvine. This reflects his twenty years experience in the field of financial accounting (Russell and Gordon 56). Zamucen leaning is in the field of forensic accounting having received various certifications that include CPA, CVA, CFE, CFF, ABV and CGMA.Advertising Looking for assessment on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Due to his vast experience, Zamucen has been in a position to demonstrate his expert status in various court cases. In particular, he was instr umental in the controllable cash flow for ex-spouse case. The case revolved around an ex-wife whose ex-husband was extremely ostentatious owing to his high income (Thornbill 23). His high lifestyle allowed him to remarry and live lavishly with his new family. However, he hid his actual income in order to continue providing meager support to his children from the previous marriage (Crumbley et al. 45). Zamucen’s expertise was demonstrated when he used all financial information available to illustrate the actual income of the ex-husband. Despite lack of enough information from the husband, he was able to substantiate that the husband’s actual income was no less than $19,000 per month. His forensic background allowed him to track the personal tax returns, cash flow, expenses and loans accruing the ex-husband. This way, Zamucen convinced the judge that the ex-husband ought to increase the support money and provide his ex-family with a lifestyle equal to his current lifesty le. As such, the judge ordered him to pay $4,000 to his wife. Works Cited Crumbley, Larrry, Heitger Lester and Smith Stevenson. Forensic and Investigative Accounting, New Jersey: Prentice Hall Publishers, 2009. Print. Nigrini, Mark. Forensic Analytics: Methods and Techniques for Forensic Accounting Investigations, New Jersey: John Wiley Sons Inc, 2011. Print. Pasco, Gregory. Criminal Financial Investigations, New York: McGraw Hill Publishers, 2012. Print.Advertising We will write a custom assessment sample on Stephen Zamucen of Zamucen Curren, LLP: Case study specifically for you for only $16.05 $11/page Learn More Russell, Smith and Gordon Parr. Intellectual Property: Valuation, Exploitation, and Infringement Damages, New Jersey: Wiley Sons, 2010. Print. Thornbill, William. Forensic Accounting: How to Investigate Financial Fraud, Boston: Cengage Publishers, 2011. Print. Other Sources http://www.zamucen.com/who-we-are.html https://forensic.org/ http: //www.zamucen.com/case-logs.html This assessment on Stephen Zamucen of Zamucen Curren, LLP: Case study was written and submitted by user Rene K. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.