Movement Native American Civil Rights Movement - 3155 Words

Movement: Native American Civil Rights Movement A: How When did people involved become aware of themselves/ How When did people identify as part of this movement? Native Americans have always had a strong sense of pride of their culture and traditions and identity, though it was when they were becoming stripped of their traditions that the movement towards their original freedom began. 1. Overview (Why then, why there?) The basic summary of events that went down in Native American history started first when the British sailed and first reached American lands in 1492. Even though the settler’s hadn’t started unlawfully stolen any land yet and banished the natives, the natives were still affected greatly by the new and unfamiliar†¦show more content†¦After Britain lost the war and the treaty was signed, however, the native land became like â€Å"free game†. The Americans felt that it was their land because they had won the war, and they wanted the land, in order to expand and grow their empire, since the only other direction to expand was to the west. I think this marked the beginning of the chain of broken promises that the natives had to suffer at the hands of the greedy. When the Americans took the land east of the Mississippi from the natives, it was like they did not even consider that there were people living there, all they saw was land and money, as if the natives were not even worth any thing, and were able to leave and come on their command. Also, just by having taken a part of the native’s previously protected land, it would turn into something that is â€Å"normal† for them - after all, their mentality was that, because they had won the war, they were obviously free to steal from the â€Å"savages†. Indian Removal Act: This act was passed by the congress and brought up by President Andrew Jackson in 1830s. The act gave the Americans not only access to the native lands in Georgia, but also allowed them to sell and do whatever they would like to the land of the natives. It is a very forceful act because it was like writing a law to suit your own needs type of situation. The Americans and Andrew Jackson wanted the land in Georgia, because gold had been

Calvary Crossing A Ford Essay - 516 Words

A Yankee Journey from the South In merely one sitting, a reader of Walt Whitman’s piece Calvary Crossing a Ford might have the inclination to interpret the work as a simple depiction of some unknown band of horseman and the aesthetic scenery they encounter on their travels. With an eye that is more attentive to detail, literary elements such as the speaker’s tone and Whitman’s presentation of detail bring to light a deeper revelation; the Yankees are coming home. nbsp;nbsp;nbsp;nbsp;nbsp;The speaker’s diction is not only sensory but also aesthetically so. He speaks of flags that, â€Å"flutter gayly in the wind,† and rivers of a â€Å"silvery† hew. The speaker’s personal image of the horseman is one of admiration as he sees, â€Å"each group, each†¦show more content†¦The journey is a long one â€Å"horses loitering stop to drink,† â€Å"negligent (riders) rest on the saddles.† However, the most prominent images are of â€Å"Scarlet and blue and snowy white† guidon flags and men â€Å"brown-faced.† The â€Å"Scarlet and blue and snowy white† guidon flags are a symbol for the flag of the American people. In keeping with the time period of this piece’s creation and remaining cognizant of the symbolization of the American Flag, It is easy to discern that the men are â€Å"brown-faced† because they are Northerners whom have been fighting in the southern regions . As submitted in the first argument of this paper the speaker is happy to see the Calvary suggesting that he to is a Northerner who is sharing the story of the Yankee Calvary’s return with his audience of peers. nbsp;nbsp;nbsp;nbsp;nbsp;To conclude, at first site Calvary Crossing a Ford seems simply a quaint tale of men out for a ride in the countryside; however, there is a deeper story lying beneath the primary message. This is the tale of the Calvary of the United States who journeyed through the south beckoning the end of the antebellum south. They bravely went off to fight a war that brought Father against Son and Brother against Brother. Despite the many justifications there might be for their fighting, the Speaker of the piece is most content in knowing that the Yankee’s are comingShow MoreRelatedWalt Whitman and the Civil War Essay955 Words   |  4 Pageswrite poems in first point of view. He created the narrator as the center of the poem with â€Å"I† speaking in the poems. Whitman became mature since the Civil War. His maturity shown in two famous poems in Drum-Taps: Beat! Beat! Drums and Cavalry Crossing a Ford (Kelly). Walt Whitman wrote the poem Beat! Beat! Drums during the early years of the Civil War. It was probably the battle of Bull Run that inspired him to write the poem. Whitman showed his sarcastic response about the Civil War through thisRead MoreThe O Reilly Factor Essay2117 Words   |  9 Pagesreturned to plotting the exact steps he would need to take to get to the president. Meanwhile, President Lincoln sent a message to Ford’s Theater that he would like to reserve the State Box for tonight’s showing of Our American Cousin. The owner, James Ford is very excited that Lincoln will be coming to see a play that night. Business was slow because of all the celebrations that were going on due to the ending of the war. He knew that this would be a sellout show because people wanted to come and seeRead MoreSynopsis Of A Book The Lord Of Heaven 7093 Words   |  29 Pagesvengeance of our God; to comfort all that mourn; To appoint unto them that mourn in Zion, to give unto the m beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness† (Isa. 61:1– 3). Jesus paid the price on Calvary many years ago for our healing. He gave his life that we may live. â€Å"Whole on the outside, broken on the inside.† Clean and unclean go together; whole (fixed) and broken go together. Coupling â€Å"clean† and â€Å"broken† makes for a mixed metaphor. God is

Evaluation Argument Hills Like White Elephants - 1388 Words

Ernest Hemingway: Hills Like White Elephants A white elephant is an idiom for a valuable but burdensome possession, but also it means a rare and sacred creature. In Ernest Hemingway’s short story Hills Like White Elephants, Hemingway uses an unborn child as a white elephant. This short story depicts a couple of an American man and young women at a train station somewhere in Spain. Hemingway tells the story from watching the couple from across the bar and listening to their troublesome conversation. Through overhearing the couple’s conversation Hemingway uses dialogue to explain the couple’s decision of an abortion operation. Hills Like White Elephants is a great example of Hemingway’s rare use of dialogue. Hemingway compresses†¦show more content†¦On one side it is dry with no tree, no shade, and long white hills; the other side had fields of grain, trees, and a river. At one point in the story the girl walks to the side full of life with the tree s and river, but the man tells her to come back and not to think that way. This could mean that she wanted to keep the baby after seeing the beautiful landscape full of life while the man did not want her to think like that. While sitting at the bar the couple orders several drinks in a short period of time which could infer that the man has persuaded the woman to have the operation because if she planned on having the baby she probably would not drink alcohol. Therefore, the drinks have helped set the setting by showing how the couple will probably handle the situation of contemplating whether to have the surgery or not. Settings play a huge role in any story but in Hills Like White Elephants the setting can be interpreted many ways which Hemingway most likely wanted for the reader. Nearly any story has characters which are revealed through direct explanations by the author Hemingway uses several ways of revealing the characters in Hills Like White Elephants. In the story the two i n the couple are clearly the main characters but the reader learns about the character through their dialogue and actions. The position of the man and woman on the decision of having the operation are clear but more about the two are revealedShow MoreRelatedHills Like White Elephants838 Words   |  4 PagesHills Like White Elephants Ernest Hemingway’s Hills Like White Elephants presents a fictional example of the modern day prevalence of miscommunication among others, namely men and women. Depicted through the couple and the present issue at hand, Hemingway strives to allude to the unfortunate truth that despite constant speaking among beings, genuine communication continues to fall short and is nearly nonexistent. Existing is the lack of productivity when the true feelings of both parties are notRead MoreEthics Is The Branch Of Study Dealing With Social Principles3917 Words   |  16 PagesAlougba Nicole Gnonse- Padonou A.N. Gnonse-P 1 Cliff Hill Moral Reasoning 12/12/2014 FINAL PAPER Ethics is the branch of study dealing with social principles. It’s a requirement of what is the proper line of action for human life. Although ethics is a central component of any happy, health, and mature life, many disagree about the value of living an ethical life. In order to solve crucial moral problems created by human existence, philosophers use ethical theories for their issues. A theoryRead MoreLogical Reasoning189930 Words   |  760 Pagesbeen significantly revised. 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Conflict, then, is the basic opposition, or tension, that sets the plot in motion; it engages the reader, builds the suspense or mystery of the work, and arouses expectation for the vents that are to follow. The plot of the traditionalRead MoreStylistic Potential of the English Noun16714 Words   |  67 PagesAnd it is no accident that in any living language there exist stylistic connotations with their heterogeneous character that is determined by the variety of the functions, Now going slightly back to the first point of this paragraph we would like to continue it by mentioning that the functional approach in mastering foreign languages requires first of all revealing stylistic resources of the language units of its different levels including grammatical ones. The famous Russian linguist V.Vinogradov[3]Read MorePhysics in Daily Life13985 Words   |  56 Pagesanalyze and evaluate evidence and relate this to scientific knowledge and understanding. 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Gone with the Wind and Feminism Free Essays

Gone with the Wind and Feminism Posted by Miriam Bale on Sat, Mar 13, 2010 at 1:38 PM [pic] Molly Haskell, author ofFrankly, My Dear, will introduceGone with the Wind at Film Forum on Sunday afternoon. Gone with the Wind plays this weekend in Film Forum’s Victor Fleming festival, but is it really a Fleming film? Uber-producer David Selznick is the most consistent author, and Selznick doppelganger George Cukor directed a significant amount of scenes, giving this domestic war film some moments more delicate and subtle than anything else in Fleming’s oeuvre (and after macho Fleming was brought on replace the openly gay Cukor at Clark Gable’s urging, the â€Å"women’s director† went on to coach Vivien Leigh and Olivia de Havilland on weekends, at their insistence, throughout the shoot); and Vivien Leigh gives a scarily mercurial performance in almost every scene, owning the film entirely. At the time of the film’s release, Frank Nugent in the New York Times wrote, â€Å"Is it the greatest motion picture ever made? Probably not, although it is the greatest motion mural we have ever seen. We will write a custom essay sample on Gone with the Wind and Feminism or any similar topic only for you Order Now † It’s a mural made by many hands, and the esteemed critic Molly Haskell’s latest book, Frankly My Dear: Gone with the Wind Revisited does a fabulous job of parsing out the contributions. She reveals nuggets like Howard Hawks’ supposed uncredited contribution in rewriting some of the dialogue in the last section, the battle of the sexes showdown between Rhett and Scarlett, which helps make sense why this particular section feels like an entirely different film from the historical romance of Part 1. Another uncredited writer was F. Scott Fitzgerald; Haskell’s digging suggests that what he eliminated from the film may be as important as what anyone else contributed. She also describes writer Ben Hecht maintaining as a point-of-pride that he had never nor never would read the mass-market epic romance on which the film was based—so Selznick and Fleming stayed up all night on a diet of speed and peanuts acting out the story for him (with Selznick as Scarlett and Fleming playing Melanie). Haskell’s book also focuses on the one-hit-wonder novelist Margaret Mitchell, telling the ascinating history of this flapper-turned-frumpy matron who rebelled against her serious, feminist southern belle of a mother by becoming a connoisseur and practitioner of frivolity as an art. As Mitchell’s background might suggest, Gone with the Wind is a complicated universe for a feminist to tackle. And yet this is exactly the sort of conflicted, non-PC and pre-Second Wave world of women that Haskell has consistently celebrated and examined through films, serving a unique and crucial role in American feminism. As Haskell describes this position in connection to a 1972 panel she took part in on women in film, in which Gloria Steinem deplored the scenes in Gone with the Wind of Scarlett O’Hara squeezed into a corset and Haskell then rose to defend that character as a courageous survivor: â€Å"Both of our reactions were in their own way, right. But this difference of perspective was also an early augur of the fault lines in feminism or perhaps a necessary split focus: between those predisposed to see and proclaim signs of the victimization of women in a benighted world now progressing toward enlightenment and equality and those inclined to be heartened by the contradictions—the women in the past (both real and fictional) who’d held their own in a chauvinist culture, who’d subverted the norms and gained victories not always apparent through a literal reading of the plot. Of course, just as Gone with the Wind is both tricky and rich personal territory for a southern-raised feminist like Haskell to examine, it is also difficult—even in coverage this brief—for a black feminist like myself to look at honestly. Gone with the Wind is unarguably, painfully racist, yet extraordinarily valuable for examining just how and why. The film displays insipid white stereotypes in some of the minor characters as much as it does obscenely destructive black ones, and yet the main characters Rhett and Scarlett seem to exist outside of this orbit, beyond expectations of both gender or race; identification with these two characters is widespread and complex, by all races. Just as Selznick’s Duel in the Sun inspired Laura Mulvey to overhaul her views on female identification, GWTW is ripe for looking at where racial identification splits and falls in this film, even after Haskell’s sharp, thorough and artfully written book has covered so uch intellectual and historic territory. Haskell will be on hand at 3pm screening at Film Forum on Sunday to introduce this problematic and fascinating piece of film history. She’ll also be signing copies of her book, a coup of single-work film criticism that is highly intelligent, personal and never relies on jargon or cliches. Besides her unique and crucial role i n American feminism, Haskell is also one of the best writers on film in America, and both as a critic and stylist she’s only getting better. Molly Haskell’s Feminist Take on Gone with the Wind y Melissa Silverstein on March 2, 2009 in Books Molly Haskell is the shit when it comes to writing about women’s films with a feminist perspective. There is no one better. Her book From Reverence to Rape: The Treatment of Women in the Movies is one of the best books about women in film and it was written in the 70s. (There is an a[pic]dditional chapter that covers the 70s and 80s in the paperback. ) That just goes to show you how few books have critically looked at this issue (from a non-academic perspective. Haskell has taken on one of the most beloved films Gone with the Wind in her new book Frankly My Dear which is out now. The book has gotten stellar reviews and including in the NY Times this weekend. Haskell’s argument is mounted on feminist principles that at first glance seem antithetical to a film widely regarded as prefeminist fluff. She contends that â€Å"themes centering on women† are â€Å"always an inferior subject matter to socially conscious critics of literature and film. † After 70 years of â€Å"GWTW† bashing, a creditable critic finally says, â€Å"Not so fast! Haskell gave up regular reviewing in the early ’90s, leaving criticism that seriously examined the big-screen image of women and the popular representation of female social roles to go underground — into academic studies where abstruse, tenure-seeking jargon is used to rebuff popular taste. That makes â€Å"Frankly, My Dear† all the more remarkable. It’s Haskell’s feminist perspective that provides insight into a movie most academics won’t touch and current critics dismiss. She disentangles the film’s qualities from the confounding issues of misogy ­ny, racism and intellectual snobbery. How to cite Gone with the Wind and Feminism, Papers

Gone with the Wind and Feminism Free Essays

Gone with the Wind and Feminism Posted by Miriam Bale on Sat, Mar 13, 2010 at 1:38 PM [pic] Molly Haskell, author ofFrankly, My Dear, will introduceGone with the Wind at Film Forum on Sunday afternoon. Gone with the Wind plays this weekend in Film Forum’s Victor Fleming festival, but is it really a Fleming film? Uber-producer David Selznick is the most consistent author, and Selznick doppelganger George Cukor directed a significant amount of scenes, giving this domestic war film some moments more delicate and subtle than anything else in Fleming’s oeuvre (and after macho Fleming was brought on replace the openly gay Cukor at Clark Gable’s urging, the â€Å"women’s director† went on to coach Vivien Leigh and Olivia de Havilland on weekends, at their insistence, throughout the shoot); and Vivien Leigh gives a scarily mercurial performance in almost every scene, owning the film entirely. At the time of the film’s release, Frank Nugent in the New York Times wrote, â€Å"Is it the greatest motion picture ever made? Probably not, although it is the greatest motion mural we have ever seen. We will write a custom essay sample on Gone with the Wind and Feminism or any similar topic only for you Order Now † It’s a mural made by many hands, and the esteemed critic Molly Haskell’s latest book, Frankly My Dear: Gone with the Wind Revisited does a fabulous job of parsing out the contributions. She reveals nuggets like Howard Hawks’ supposed uncredited contribution in rewriting some of the dialogue in the last section, the battle of the sexes showdown between Rhett and Scarlett, which helps make sense why this particular section feels like an entirely different film from the historical romance of Part 1. Another uncredited writer was F. Scott Fitzgerald; Haskell’s digging suggests that what he eliminated from the film may be as important as what anyone else contributed. She also describes writer Ben Hecht maintaining as a point-of-pride that he had never nor never would read the mass-market epic romance on which the film was based—so Selznick and Fleming stayed up all night on a diet of speed and peanuts acting out the story for him (with Selznick as Scarlett and Fleming playing Melanie). Haskell’s book also focuses on the one-hit-wonder novelist Margaret Mitchell, telling the ascinating history of this flapper-turned-frumpy matron who rebelled against her serious, feminist southern belle of a mother by becoming a connoisseur and practitioner of frivolity as an art. As Mitchell’s background might suggest, Gone with the Wind is a complicated universe for a feminist to tackle. And yet this is exactly the sort of conflicted, non-PC and pre-Second Wave world of women that Haskell has consistently celebrated and examined through films, serving a unique and crucial role in American feminism. As Haskell describes this position in connection to a 1972 panel she took part in on women in film, in which Gloria Steinem deplored the scenes in Gone with the Wind of Scarlett O’Hara squeezed into a corset and Haskell then rose to defend that character as a courageous survivor: â€Å"Both of our reactions were in their own way, right. But this difference of perspective was also an early augur of the fault lines in feminism or perhaps a necessary split focus: between those predisposed to see and proclaim signs of the victimization of women in a benighted world now progressing toward enlightenment and equality and those inclined to be heartened by the contradictions—the women in the past (both real and fictional) who’d held their own in a chauvinist culture, who’d subverted the norms and gained victories not always apparent through a literal reading of the plot. Of course, just as Gone with the Wind is both tricky and rich personal territory for a southern-raised feminist like Haskell to examine, it is also difficult—even in coverage this brief—for a black feminist like myself to look at honestly. Gone with the Wind is unarguably, painfully racist, yet extraordinarily valuable for examining just how and why. The film displays insipid white stereotypes in some of the minor characters as much as it does obscenely destructive black ones, and yet the main characters Rhett and Scarlett seem to exist outside of this orbit, beyond expectations of both gender or race; identification with these two characters is widespread and complex, by all races. Just as Selznick’s Duel in the Sun inspired Laura Mulvey to overhaul her views on female identification, GWTW is ripe for looking at where racial identification splits and falls in this film, even after Haskell’s sharp, thorough and artfully written book has covered so uch intellectual and historic territory. Haskell will be on hand at 3pm screening at Film Forum on Sunday to introduce this problematic and fascinating piece of film history. She’ll also be signing copies of her book, a coup of single-work film criticism that is highly intelligent, personal and never relies on jargon or cliches. Besides her unique and crucial role i n American feminism, Haskell is also one of the best writers on film in America, and both as a critic and stylist she’s only getting better. Molly Haskell’s Feminist Take on Gone with the Wind y Melissa Silverstein on March 2, 2009 in Books Molly Haskell is the shit when it comes to writing about women’s films with a feminist perspective. There is no one better. Her book From Reverence to Rape: The Treatment of Women in the Movies is one of the best books about women in film and it was written in the 70s. (There is an a[pic]dditional chapter that covers the 70s and 80s in the paperback. ) That just goes to show you how few books have critically looked at this issue (from a non-academic perspective. Haskell has taken on one of the most beloved films Gone with the Wind in her new book Frankly My Dear which is out now. The book has gotten stellar reviews and including in the NY Times this weekend. Haskell’s argument is mounted on feminist principles that at first glance seem antithetical to a film widely regarded as prefeminist fluff. She contends that â€Å"themes centering on women† are â€Å"always an inferior subject matter to socially conscious critics of literature and film. † After 70 years of â€Å"GWTW† bashing, a creditable critic finally says, â€Å"Not so fast! Haskell gave up regular reviewing in the early ’90s, leaving criticism that seriously examined the big-screen image of women and the popular representation of female social roles to go underground — into academic studies where abstruse, tenure-seeking jargon is used to rebuff popular taste. That makes â€Å"Frankly, My Dear† all the more remarkable. It’s Haskell’s feminist perspective that provides insight into a movie most academics won’t touch and current critics dismiss. She disentangles the film’s qualities from the confounding issues of misogy ­ny, racism and intellectual snobbery. How to cite Gone with the Wind and Feminism, Papers

An american epidemic Essay Example For Students

An american epidemic Essay An American Epidemic In modern times, nobody who reads the newspapers or watches television can avoid the chilling fate that our country faces. School violence is a rapidly growing trend in America, and it seems to be there is nothing we can do to stop it. The offenders are from all races and social classes. They range from the high school hero to the high school dropout. It often seems the only thing they have in common is an utter disregard for their own life and the lives of others. In the following accounts, taken straight from American headlines, harrowing events fit for blockbuster fiction prove that our country is becoming victim to a new criminal: youthful rage. In generations past, the high school rebel was the boy all the girls wanted and all the boys wanted to be. He was the one in the leather jacket who went to class only to make snide remarks, drove too fast, and talked too slow. Jump forward to the end of the twentieth century, and the high school rebel is the boy who students ignore, the one who sits in the back of the classroom and never talks, wears all black and keeps to himself. He is the last student anyone would fear, but probably the most dangerous. He doesn’t want to take advantage of those who are smaller than him, but wants to seek vengeance on those who have hurt him, basically everyone. He, in fact, is sometimes a she. Of course, offenders can’t be classified into one group. Many times it is the last person you would ever imagine. That is the way it happened for Chester Jackson, a Detroit high school football star. Chester was a seventeen-year-old hero, a senior who had reached godlike status due to his work for the school football team. But if you ask his high school friends of their memories of Chester, they will not remember him running down the football field, but running down the hall, trying to save his own life. Like so many students, Chester found it amusing to tease the underclassmen. Particularly a fourteen-year-old freshman boy that was unable to defend himself when Chester and his friends pushed him in his own locker and secured the combination lock for three consecutive classes. That was the event they say made the boy snap. He brought a gun to school the next day, and even with all of his football training, Chester could not run fast enough to save his own life. He was the firs t student ever killed in a Michigan high school. Unfortunately, Chester’s story is not an isolated incident. School shootings are now a common occurrence. A place that used to be considered a safe haven is now turning into a death trap. Where lockers and drinking fountains used to be found there are now metal detectors and armed guards. Detroit high schools have expelled fifteen students since Chester’s murder inspired them to install metal detectors. Each of the students was carrying a loaded gun. Chester’s death also resulted in the now nation wide Barron Assessment and Counseling Center, a program designed to encourage youths to exchange their weapons for books. Marva Collins, principal of a Chicago Public School, sees the starting of these groups as bittersweet. â€Å" (These) Centers are extremely helpful, and have the right idea in mind, but how many children are going to have to die before our nation sits up and pays attention. Will mine be the next?â₠¬ In 1994, children under 18 were 244% more likely to be killed by guns than they were in 1986. Gun owners of all ages state that their number one reason for owning a handgun is protection from criminals, yet they are 43 times as likely to kill a friend or family member than they are a criminal. In the 1980’s it appeared that teen pregnancy was going to be the downfall of American society, but as Marion Wright Edelman, president of the children’s advocacy group puts it, â€Å" The crisis of children having children has been eclipsed by the greater crisis of children killing children.† Between 1979 and 1993, guns killed more than 60,000 children, a figure greater than the number of Americans killed in the Vietnam War. Also, a child in the United States is 15 times as likely to die as a result of gunfire than is a child in war-torn Northern Ireland. The statistics only succeed in proving what is becoming incredibly obvious; guns have become the clearest evidence of a growing despair among many American teenagers. As one young man puts it, â€Å" That’s just the way it is. Guns are just a part of growing up these days. You fire a gun and you can just feel the power. It’s like yeah.†Who is to blame for the newest American trend? Are parents not paying enough attention to their children? Are schools not educating students on proper anger management? These are both possibilities, but 6 out of 10 people agree: the problem lies in the media. It seems that you cannot attend a movie these days without having to prepare yourself for some degree of violence. Even â€Å"family† movies (those with a G or PG rating) are not immune to it. Television shows are nearly as bad, police dramas run nearly every night during prime time on major networks, exposing millions of young children to things they are not ready to see. The new wave of gangster rap shows young men boasting of killings and beatings, and the people of our country are proving to the corporations that offer these products one major thing; violence sells. Tommy Matola, president of a major music Corporation states â€Å"the things that (these) young men are speaking of are things that they grew up around, that millions of children are still growing up around. Society owes them for exposing a problem that may threaten our national security.† Even a typical cartoon show averages 41 acts of violence each hour, with an attempted murder every 2 minutes. Many parents want the Government to regulate what is available for children to see, but many maintain that it is not their responsibility. As Barry Lynn of the American Civil Liberties Union put it, â€Å" If you cannot persuade persons to reject what you consider to be exploitive or unhealthy, do not ask the government to impose your will on those same persons.† Lately, as youth violence has been more scrutinized by the public, many new laws have come into effect. The debate over what to do with juvenile offenders is one that will never be solved, but can be compromised to come up with a good solution. Currently, offenders who appear in juvenile court do not receive a criminal record. Therefore, when a child appears in front of a new judge, he will have no way of knowing how many times the child has convicted the same crime. The law of dismissing children from a criminal record was designed to protect them from stigma and prejudice, but more often there are negative results received not by the child, but by their victim. States have experimented with such things as punishing parents for crimes their children commit, and many have began to charge children accused of major crimes as adults. However, none of these laws have been threatening enough, as fourteen-year-old Arthur Bates has proven. Arthur spent many of his early years in mental facilities, but after it was decided that nobody could help him he was sent home to his mother. One day Arthur chose a house at random and planned on robbing it. Once he got in he realized the owner of the home, Lillian Piper, was asleep inside. Arthur proceeded to rape and kill Miss Piper, and then have a bowl of ice cream from her freezer and drive off in her Cadillac. About an hour later police, to whom he immediately confessed, stopped him. He then told them, â€Å"You can’t do anything to me. I just fourteen.† He was sentenced to seven months in reform school. .u16562bae8152083b3b9c01a8031721c6 , .u16562bae8152083b3b9c01a8031721c6 .postImageUrl , .u16562bae8152083b3b9c01a8031721c6 .centered-text-area { min-height: 80px; position: relative; } .u16562bae8152083b3b9c01a8031721c6 , .u16562bae8152083b3b9c01a8031721c6:hover , .u16562bae8152083b3b9c01a8031721c6:visited , .u16562bae8152083b3b9c01a8031721c6:active { border:0!important; } .u16562bae8152083b3b9c01a8031721c6 .clearfix:after { content: ""; display: table; clear: both; } .u16562bae8152083b3b9c01a8031721c6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u16562bae8152083b3b9c01a8031721c6:active , .u16562bae8152083b3b9c01a8031721c6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u16562bae8152083b3b9c01a8031721c6 .centered-text-area { width: 100%; position: relative ; } .u16562bae8152083b3b9c01a8031721c6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u16562bae8152083b3b9c01a8031721c6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u16562bae8152083b3b9c01a8031721c6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u16562bae8152083b3b9c01a8031721c6:hover .ctaButton { background-color: #34495E!important; } .u16562bae8152083b3b9c01a8031721c6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u16562bae8152083b3b9c01a8031721c6 .u16562bae8152083b3b9c01a8031721c6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u16562bae8152083b3b9c01a8031721c6:after { content: ""; display: block; clear: both; } READ: Child Abuse EssayTo many, trying children as adults is the only fit punishment, but it has not been as helpful as its proponents had hoped. Usually, when these children are sent to adult institutions, they are sexually molested and taught new crimes. When the child leaves the institution, which many call their â€Å"crime school,† the child is now more dangerous than he ever had been. There have been many â€Å"crime camps,† instituted with juvenile offenders in mind, as well. At these camps, young offenders take part in â€Å"skills streaming† where they learn new ways to deal with real life situations. Whether any of these options really work is real ly in the eye of the public, and they cannot seem to agree. As Los Angeles police detective Robert Contreras puts it, â€Å"These kids are getting away with murder. They have no respect for anything and joke that in jail they’ll at least get three square meals a day.†Obviously, it is going to take more than one person to stop what is being called an American epidemic. Every parent, every child, every teacher, and every citizen is going to have to stand up and help achieve a solution. As of now, the students committing these crimes are not only literally getting away with murder but also being glamorized. Maryanne Britain, a Texas student, points out â€Å"I cannot name one of the students that was killed in Colorado, but I know the whole biography of the killers. What sense does that make?† Miss Britain has pointed out something that many of us don’t realize, in our country often times the offenders are mistaken as the victim. We lose sight of the crime a t hand and try to blame the problem on society instead of the killers. We are all faced with the same graphic truth, and many of us are able to make it through life without killing anyone. Alone, we cannot accomplish much, but if we stand up to offenders as a nation, we can save the fate that we are now facing. All it will take to save the lives of our generation and many to come is everyone working together. That is when we will take our country back and truly make a difference. Perhaps teamwork can be the nations next epidemic.

Jonathan free essay sample

Imagine yourself a freshmen in high school beginning your independence. Since I was the oldest child, I was the first to begin exploring the worlds of dating, extra-curricular clubs and the upperclassmen. However one afternoon my parents sat my two sisters and me down. My parents, smiling at each other, proceeded to say, Girls, we have something to tell you. The next seven words would change me forever: We are going to have a baby. My mouth dropped and my emotions started to race. How could they do this? Arent they too old? What about me? This baby will take all their time. To my parents dismay my first reaction to their happy announcement was tears pity for myself. After the initial shock and brief phase of denial, I finally began to enjoy my moms pregnancy. It was fun trying to choose names for a girl or boy and placing my hand on my moms stomach anticipating the babys kick. We will write a custom essay sample on Jonathan or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page During this time I even become closer with my mom. Then finally on the morning of Sept. 20, 1994, we were going to the hospital. Around 4:00 p.m. my mom went into heavy labor. All three of us were brought into the delivery room. The experience of being next to a woman while she is giving birth is not something every girl has. Im glad, though, that I was there, because the feeling I got when the doctor held the baby up and said it was a boy was something I would not have wanted to miss. As I held my brother I began to cry this time from the happiness and excitement of having a new baby brother, Jonathan. This baby has taught me many things in his two years of life. As an infant he taught me the responsibility it takes to care for a human being who is completely dependent on you. This baby is not a doll to be put on a shelf, he needs to be cared for 24 hours a day. As my brother grew older our means of entertaining him needed to constantly change. Usually he could only be entertained for five minutes tops, then it went onto something different. There is no debating that Jonathan has taught me how to make the most of my creativity. Together we would have the greatest adventures whether it was outside in the yard or under his bed covers. The most valuable thing my brother has taught me is how to love. Hes lucky enough to have a mom, dad, and three older sisters who love him very much, but the love that he returns is greater than all of ours put together. You can see it in his big blue eyes that lock onto yours when you come home from school. He is very generous with his little hugs and those quick little pecks on the cheek that make your heart melt. What Jonathan has taught me is that you feel much happier inside when you decide to love someone and do it whole heartedly.