Revisions of Foundations of the Development and Functions of Police Assignment

Revisions of Foundations of the Development and Functions of Police - Assignment Example The political policing era of policing embraced the watch-man style, which embodied police discretion, and control rather than prevention a system, which is distant from society (Ken, 2009). In terms of discretion, police chose whom to serve and protect at their judgment with reference to politicians who had immense control over them. The approach of dealing with crime was often questioned because of its reactive nature. The control of crime was based on controlling rather than prevention and this hugely led to crime escalation (Ken, 2009). Second was the legalistic style, which made law enforcement the only concern of the police at the expense of social problems; by advocating only for the enforcement of the law to the letter. Politicians enacted several Legislations to establish full-time control over the police. A good example is the 1844 law in New York City that aimed at putting police under the control of city politicians and the government (Ken, 2009). Such laws disregarded public view, as they were the preserve of the political class. The police had no interest at all about the social problems in the country. The main agenda was to enforce and implement the law to the letter. Finally was the service style whereby police conceptualized themselves as helpers of the country when crime or war occurred. Service delivery was considered as a favor to the society rather than an obligation. It is often well-known as the systematic policing practice whose mandate was to reform the political-oriented police practice (Ken, 2009). It embraced the three styles but implemented each of them completely different from the political approach. Discretion exercised early was limited by far. The police schedule became standardized, as officers were now required to enforce the law and make arrests based on the crime committed lieu of the political power-play (Ken, 2009). More efforts were evoked to prevent crime rather making injunctions only after crime

Crying Away Stress :: Biology Essays Research Papers

Tearful Serenity: Crying Away the Stress Some days you've just had it. You've been talked at all day by people you couldn't care less about, the lady at the convenience store snapped at you, your friend invited herself over right when you had exactly one hour to write a paper, you got caught in a traffic jam going shopping, you're starting to seriously rethink your life career ... and now there's a thirty dollar parking ticket stuck on your windshield because that darn machine wasn't accepting quarters. You burst into tears. Tears, stupid tears! Always coming when you least want them. Now everyone on the street is looking at you and your eyes are so blurry you trip over the bumper and stumble into the street. What a klutz. How humiliating! Why do you always have to cry like this? But everybody cries. For its capacity to signal physical or emotional distress, crying has left an indelible mark on the slate of human history. Where would art and poetry be without tears? In fact, where would we be? In truth, crying plays an essential role in our biology as well as our social and cultural experiences. We can't stop the tears from flowing, but we can investigate why they flow – and why crying might not be, after all, such a bad thing to do. Tears are body excretions, just like sweat and mucous and urine. We don't usually like to think about body excretions, but when we do, we bear with them because we know they have important functions. Sweat removes excess salts from the body and cools us; mucous traps surrounding pathogens; urine and feces expel unneeded, toxic waste products that would harm the body if they remained within it. All three contribute to the body's self-regulatory or homeostatic nature, readjusting for balance. Tears, too, must serve a biological, homeostatic purpose. But what? In fact, there are three known answers to this question. Scientists distinguish three kinds of tears, which differ from each other by function and also, probably, by composition. Basal tears actually form continuously. We don't experience these minute secretions as tears because they don't "ball up" as we are used to tears doing; instead, every time we blink, our eyelids spread the basal solution out over the surface of our eyeballs(1). Basal tears keep our eyes lubricated, important in preventing damage by air currents and bits of floating debris(2), (3).

African American In The 1920s Essay

The 1920s were a time of struggle, pride, fear, and creativity for African Americans. Following WWI, blacks fought for the conditions and rights that they were given while fighting in Europe. They fought through countless riots and murders to push for equality. They migrated across the country to escape the horrid conditions of the South. They created an entirely new cultural movement that spread like wild fire. African Americans of the 1920s created a momentous movement of political and cultural dominance that would eventually lead to their freedom. The Post World War I era was a difficult, yet prideful time for African Americans. While African Americans were fighting abroad, they were treated as equals to whites in Europe. Due to American generals refusing to command blacks, African Americans fought side by side with black and white French soldiers under French command. In addition, there were a few all black regiments, the most well known being the 369th Colored Infantry (p. 8). Upon returning home in November of 1918, African Americans faced â€Å"contradictory feelings of hope and frustration† (p. 7). They expected to be praised and rewarded for their sacrifices made during the war; however, they were met with nearly the opposite. This new mood among the African Americans became Flowers 1 known as the â€Å"New Negro. † Coined by black journalists, this term described the new attitude of post-war blacks and their will to fight against the white oppression. Unfortunately, the American public treated them the same as before the war. African American soldiers were in shock from the striking contrast of black social conditions between America and Europe. While the whites were praised for their sacrifices, the blacks were not. In one case, however, on February 7, 1919, a few thousand black soldiers marched through Manhattan, and were praised by both blacks and whites alike; however, most white Americans didn’t feel the same as those in New York. With blacks having a strong hope for equality, and whites having a strong fear of this equality, America was set up for some of the best and worst events of the 1920s. The â€Å"Red Summer†, coined by James Weldon Johnson, was a summer of hate crimes, violence, and even murder. On several occasions, both blacks and whites ended up injuring and killing one another. African Americans began to assert their new hope of equality. The first instance of this new attitude occurred in Charleston, South Carolina, when sailors killed a black civilian. A large fight broke out and several people, both blacks and whites, were killed. Riots began to appear throughout America. The worst riot broke out in Chicago and lasted five days. It all began when an African American swimmer drifted into waters between segregated beaches. A white man threw a rock at him and the black man ended up drowning. White police officers did nothing to arrest the white man. As the news spread, gang related violence quickly began to spread throughout neighborhoods. As tensions grew stronger, the violent crimes Flowers 2 became worse. Eventually, a mass riot broke out. Policemen fired upon several black men, and several thousand men became involved. In the end, 23 blacks and 15 whites were killed, and many more were injured. Unfortunately, the majority of the media downplayed these riots to try and keep everyone else under control, but The Crisis, the primary newspaper for the NAACP, published nearly every event, both good and bad. Over the summer, many other instances of violence occurred, leading to the Great Migration (p. 7-15) The lives of African Americans significantly changed during the 1920s. A large contributor to these changes was the mass migration of African Americans to the North and West known as the Great Migration. African Americans despised the Jim Crow laws, and tried everything in their power to either change or escape them. Many blacks living in the South gained much economic success after migrating to the North. Not only did the blacks want to migrate to the North for economic and civil gains, but they also wanted to escape the worsening conditions in the South caused by the Boll Weevil plague that ruined the cotton industry (p. 23-24). Upon arriving in the North, blacks began to build up their community. They built their own churches, which were significantly different from white churches. Their churches became a part of their lives, and became their community. The YMCA and the YWCA also began during this time period, promoting community as well. Western black immigrants came primarily from places like Jamaica, and were fairly new to the oppression of the whites in America. Because of this, they were not as afraid to start up new things. Flowers 3 On the political side of events, the NAACP was on the rise. By 1919, the NAACP had become the leading organization for black civil rights. Led by W. E. B. Du Bois, the NAACP constantly challenged â€Å"segregation and political equality. † (p. 57) A major success of this organization was the push for the Dyer Antilynching Bill. Even though the bill was never successfully passed, it brought lynching to the attention of the public, and eventually reduced the number of lynchings significantly (p. 60-63). While African Americans fought to make conditions better for themselves, some conditions remained poor. Some blacks began purchasing homes in â€Å"white† neighborhoods, but were faced with violence, especially from the rising Ku Klux Klan; therefore, ending the housing segregation quickly gained importance (p. 66-68). The white schools were far superior, due to the much higher wages and funding provided. In Southern states, studies showed that white teachers were paid nearly four times as much as black teachers, and the black school sizes and facilities were vastly inferior (p. 68). A third problem was the constant fight against the judicial system. On several occasions, blacks were wrongly accused of crimes, even when there was little to no evidence to prove anything at all. For example, two black men in Kentucky ended up in court for raping a white woman on â€Å"the flimsiest of evidence. † Even though no one identified the men, the all white jury spent just fifteen minutes to find them guilty, and the men were sentenced to death (p. 68). Aside from the political issues, African Americans in the North began a mass movement of cultural expansion, including literature, music, and art. This Flowers 4 movement became known as the Harlem Renaissance. The precursor to this movement was the Marcus Garvey movement. Garvey pushed for blacks to â€Å"reject the white society and build a separate life. † (p. 77) He believed that blacks should never conform to white society. He also led the somewhat unsuccessful â€Å"Back to Africa† movement, which was an attempt to have all blacks leave the country and live in Liberia instead. Following the Marcus Garvey movement was the well-known Harlem Renaissance. Even though renaissance is in the name, this movement was more of a birth than a rebirth. It all began during the Great Migration. As thousands of African Americans migrated to the North, many ended up settling in Harlem. This three square mile area became the largest concentration of black people in the world. Following the war, many writers celebrated this new life in the North, and praised the better conditions of the North in their writing. Many hoped that this mass outpouring of literature would â€Å"break down the walls of prejudice. † (p. 80) The most popular of these writers was the African American poet, Langston Hughes. Today, much of his work is considered classic literature. In addition to the mass influx of African American literature, jazz music was on the rise (p. 83-86) Jazz became a symbol of African Americans and the Harlem Renaissance. This product of music pulled concepts from â€Å"African rhythms, blues chord progressions, church spirituals, European melodies, and American marching band instrumentation. † (p. 86) Probably the most well known musician from this era was the trumpeter, Louis Armstrong. Even though jazz originated in New Orleans, it quickly spread to the East coast and eventually to Harlem. The Flowers 5 literature produced in Harlem was by far more successful than jazz, but there was certainly no shortage of jazz in Harlem. Both the jazz and literary greats became idols to many African Americans. They created a wave of inspiration in the black community that quickly spread throughout certain areas of America. The African American community fought through violence, held their pride, and created an entire cultural movement. Through the idea of the â€Å"New Negro† to the eventual Harlem Renaissance, African Americans became stronger and bolder in fighting against whites. Through the NAACP, African Americans gained a stronger stance in politics than ever before. Through riots, beatings, and even deaths, African Americans fought to be treated equally to whites, and paved the way for their eventual freedom and equality.

Definition and Examples of Narrators

A narrator is a person or character who tells a story, or a voice fashioned by an author to recount a narrative.   Professor Suzanne Keene points out that the  nonfiction narrator  is strongly identified with the author, whether a first-person self-narrator  in autobiography or a third-person historian or biographer (Narrative Form, 2015).An unreliable narrator (used far more often in fiction than in nonfiction) is a first-person narrator whose account of events cant be trusted by the reader. Examples and Observations The term narrator can be used in both a broad and a narrow sense. The broad sense is one who tells a story, whether that person is real or imagined; this is the sense given in most dictionary definitions. Literary scholars, however, by narrator often mean a purely imaginative person, a voice emerging from a text to tell a story. . . . Narrators of this kind include omniscient narrators, that is, narrators not only who are imaginary but who exceed normal human capabilities in their knowledge of events.(Elspeth Jajdelska, Silent Reading and the Birth of the Narrator. University of Toronto Press, 2007)Narrators in Creative Nonfiction- Nonfiction often achieves its momentum not just through narrative--telling the story--but also through the meditative intelligence behind the story, the author as narrator thinking through the implications of the story, sometimes overtly, sometimes more subtly.This thinking narrator who can infuse a story with shades of ideas is what I miss most in much no nfiction that is otherwise quite compelling--we get only raw story and not the more essayistic, reflective narrator. . . . [I]n telling nonfiction stories we cant as writers know anybodys interior life but our own, so our interior life--our thought process, the connections we make, the questions and doubts raised by the story--must carry the whole intellectual and philosophical burden of the piece.(Philip Gerard, Adventures in Celestial Navigation. In Fact: The Best of Creative Nonfiction, ed. by Lee Gutkind. W.W. Norton, 2005)- Readers of the nonfiction work expect to experience more directly the mind of the author, who will frame the meaning of things for herself and tell the readers. In fiction, the writer can become other people; in nonfiction, she becomes more of herself. In fiction, the reader must step into a believable fictional realm; in nonfiction, the writer speaks intimately, from the heart, directly addressing the readers sympathies. In fiction, the narrator is generall y not the author; in nonfiction--barring special one-off personas as encountered in Jonathan Swifts A Modest Proposal--the writer and narrator are essentially the same. In fiction, the narrator can lie; the expectation in nonfiction is that the writer wont. Theres an assumption that the story is, to as great an extent as possible, true; that the tale and its narrator are reliable.(New York Writers Workshop, The Portable MFA in Creative Writing. Writers Digest Books, 2006)First Person and Third Person Narrators[S]imple, direct storytelling is so common and habitual that we do it without planning in advance. The narrator (or teller) of such a personal experience is the speaker, the one who was there. . . . The telling is usually subjective, with details and language chosen to express the writers feelings. . . .When a story isnt your own experience but a recital of someone elses, or of events that are public knowledge, then you proceed differently as narrator. Without expressing opinio ns, you step back and report, content to stay invisible. Instead of saying, I did this; I did that, you use the third person, he, she, it, or they. . . . Generally, a nonparticipant is objective in setting forth events, unbiased, as accurate and dispassionate as possible.(X.J. Kennedy et al., The Bedford Reader. St. Martins, 2000)- First-Person NarratorOnce there, beside the ocean,  I felt a little frightened. The others didnt know Id gone. I thought of the violence in the world. People get kidnapped on the beach. A sneaker wave could take me out, and no one would ever know what had happened to me.(Jane Kirkpatrick, Homestead:  Modern Pioneers Pursuing the Edge of Possibility. WaterBrook Press, 2005)- Third-Person NarratorLucy felt a little frightened, but she felt very inquisitive and excited as well. She looked back over her shoulder and there, between the dark tree-trunks, she could still see the open doorway of the wardrobe and even catch a glimpse of the empty room from whi ch she had set out.(C.S. Lewis,  The Lion, the Witch and the Wardrobe, 1950)Narrators and ReadersIt is well known that in linguistic communication I and you are absolutely presupposed one by the other; likewise, there can be no story without a narrator and without an audience (or reader).(Roland Barthes, An Introduction to the Structural Analysis of Narrative, 1966) Pronunciation: nah-RAY-ter