The Dynamics Of Prosecuting Attorneys. Prosecuting Attorneys

The Dynamics of Prosecuting Attorneys Prosecuting attorneys have been enforcing law and order for many years, trying criminal cases while representing local, state, or federal governments. They interview witnesses and victims, look at police reports, and do legal research to plan prosecutions for cases. After the information is collected, it is used in court to present a case against the defendant. Most of the time cases are begun by reviewing police reports and conducting research. To be able to be successful in this field you have to know how to conduct research and be excellent at problem solving. (â€Å"Prosecuting†). Before getting into the dynamics of a prosecuting attorney, the history of this career is important and should be told.†¦show more content†¦There are some barriers before starting law school. Before you are accepted into the law school of your choosing you must pass the Law School Admission Test (LSAT). To become a prosecutor, you have to earn a bachelor’s degree and a Juris Doctor Degree. After finishing law school, you have to pass the states bar exam. Passing the bar exam is the only way to get a license to practice. (â€Å"Prosecuting†). Potential prosecutors should focus on criminal law while earning their degree. Criminal law is a system of law that is devoted to the punishment of people who commit crimes. â€Å"In general, Criminal law asks and answers three questions: 1. Did an individual commit a crime? 2. Which crime did an individual commit? 3. Does the individual have a defense?† The way each state prosecutes criminals is different because each state has its own criminal code. Which means each state decides what punishment is appropriate for each crime. Criminal codes vary greatly among state and federal government. Some statues resemble the common law criminal code, but others, like the New York Penal Law, almost mimic the Model Penal Code (MPC). Common law is when law is taken from judicial decisions instead of from written law. Model Penal Law was influential work that played a very important part in the revision and process of arranging laws. (â€Å"Criminal†). Prosecuting attorney have one of the toughest careers. In court they representShow MoreRelatedPsychological Secrecy And The Death Penalty Analysis1566 Words   |  7 Pagesconcrete [building]† where prisoners are left to suffer in unbearable conditions (Stevenson, 53). With few privileges and far from home, McMillian was not able to have contact with his family or know what was happening surrounding his case. Racial dynamics were influential in the process of the case. There was collision between judges and prosecutors about the venue for the trial. The trial was moved to Baldwin County, a white county where only one African American served as a juror. The makeup ofRead MoreTaking a Look at the Watergate Scandal839 Words   |  3 Pageshappened in the 1970s that was caused by a break-in with the arrest of five men for breaking and entering in the DNC in the Watergate building in Washington D.C. Around this time, President Richard Nixon was running for a re-election, Nixon had a dynamic presidential campaign and advisers, and they were a part of a big political scandal. In May 1972, member of the Nixon’s movement CREEP (Committee to Re-Elect the President) had gone into the DNC Watergate head office and stole disclosed records andRead More The Reality of To Kill A Mockingbird Essay1445 Words   |  6 Pagesprejudice. The people of Maycomb still lived by the â€Å"old ways.† The citizens of Maycomb still speak to people of color as if they were living 100 years ago. For example, during Tom Robinson’s trial he is always referred to as a â€Å"boy† by the prosecuting attorney. Tom Robinson is a colored man who is being tried for raping a white man’s daughter. This can be compared to the case of the Scottsboro Boys because; all of the accused are Black and referred to as â€Å"boy† or â€Å"boys†. Another exampleRead MoreWhat Is Team Building? Essay1680 Words   |  7 Pagesclosing prostitution houses. A team might be created that consists of the police department that arrests the prostitutes and their customer, the building code enforcement department that drafts violations for the buildings owners, and the local prosecuting attorney s office to file civil and criminal suits against all parties involved in the operation. That way, the crime is hit from all sides and is much less likely to resume later on. It is necessary to put a team together from different departmentsRead MorePlea Bargaining : An Essential Part Of Our Criminal Justice System3413 Words   |  14 PagesAbstract Plea bargaining has been around since the early 1800’s and is a process where the attorney for the defendant negotiates a plea with the prosecuting attorney. This process which was simple in the beginning has changed dramatically over the years. Prosecutors have made it seem they have evidence for serious crimes and get people to plead guilty to a lesser offense. Many people will accept a plea bargain out of fear of what will happen at trial. Everyday people who otherwise would have beenRead MoreCriminal Courts2337 Words   |  10 Pagesis a group of participates in a criminal trial. The participants can be divided into two categories: professionals and outsiders. The professionals are the officials that work in the courtroom for a living, which includes judges, prosecuting attorneys, defense attorneys, public defenders, and court reporters. The professionals are called the courtroom work group. (Schmalleger, 2009) How does this courtroom work group interact on a daily basis? â€Å"Courts plan ahead for Pandemic. Where everythingRead MoreForensic Science in the 21st Century1765 Words   |  8 Pagesthe most important elements in crime-solving. Consequently, technological advances are relevant to the limited and challenging forensic science field. Also, it is a field wherein technical aptitude is attained only by the amalgamation of various dynamics. For example, supervision, continuing education, proficiency, training, experience, coupled with appreciativeness of scientific protocols and methods proposed against a setting of harsh professional beliefs. This submission delves into forensicRead MoreAnalysis Of The Movie 12 Years A Slave 1735 Words   |  7 Pagesproblem without good assessment of effectiveness and efficiency. There are many programs running concurrently at the same time through different government levels. And when problem solving involves intergovernmental relations and interagency, the dynamics of having a uniformed code and bala nce of power to get the work done becomes rigorous. This most times leads to inefficiency and retrogression. DHS Relationships and Cooperation with other Agencies. In 2003, the department of Homeland Security extendedRead MoreDispute Systems Design : U.s. Military Special Victims3828 Words   |  16 Pagesprocess. In this circumstance, a victim would need to convince the prosecuting Judge Advocate (military lawyer) that they should dismiss the case. 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Characteristics Of An Effective Communicator - 1831 Words

Every person has different learning outcomes when they complete a class. The following Core Assessment will give the reader a full spectrum reflection of my last 8 weeks at class. To better understand my learning outcomes in Human Communication you need to know What are some characteristics of an effective communicator, a before and after evaluation of my communication, and What I have learned in last 8 weeks. After you are done reading this core assessment you will know how much a have improved my communication skills and you might learn couple of new things yourself. Characteristics of an Effective Communicator Going back to beginning of March when I started Introduction to Human Communication class, I had no idea what a good†¦show more content†¦I believe this is the only model available in my tool box when the purpose of communication is to discipline. The second type of communication in the Week 1 Lecture, is Interactive Model which is more of a day to day conversation because of the two-way communication nature, where one of the elements offer a response to the other. Last but not least is the third model which is the Transactional Model this model is a perfect example of the complexity of communication since encompass every single element of communication. This model helped me understand how easy communication can be damage by the environment. The reason I went out of my way to explain the three different model of communication, is because only good communicators with the traits or characteristics that I’m about to describe to you will know which model of communication its being use and will know how to achieved the purpose of the communication. One of my favorites characteristics is GETTING PERSONAL or showing empathy. If you do not make your audience or you if you are the audience care about the message they will not received the message. You need to be interested in the message to be able to provide feedback. In the other hand you need to know your audience to be able to know if the message will interest the other person. J. DeMers, (2016). By knowing your audience, you will be able to retrieved the types of facts to

The Basic Dilemma of the Artist Example For Students

The Basic Dilemma of the Artist Biography We have a corporeal body. It is a physical entity, subject to all the laws of physics. Yet, we experience ourselves, our internal lives, external events in a manner which provokes us to postulate the existence of a corresponding, non-physical ontos, entity. This corresponding entity ostensibly incorporates a dimension of our being which, in principle, can never be tackled with the instruments and the formal logic of science. A compromise was proposed long ago : the soul is nothing but our self awareness or the way that we experience ourselves. But this is a flawed solution. It is flawed because it assumes that the human experience is uniform, unequivocal and identical. It might well be so but there is no methodologically rigorous way of proving it. We have no way to objectively ascertain that all of us experience pain in the same manner or that pain that we experience is the same in all of us. This is even when the causes of the sensation are carefully controlled and monitored. A scientist might say that it is only a matter of time before we find the exact part of the brain which is responsible for the specific pain in our gedankenexperiment. Moreover, will add our gedankenscientist, in due course, science will even be able to demonstrate a monovalent relationship between a pattern of brain activity in situ and the aforementioned pain. In other words, the scientific claim is that the patterns of brain activity ARE the pain itself. Such an argument is, prima facie, inadmissible. The fact that two events coincide even if they do so forever does not make them identical. The serial occurrence of two events does not make one of them the cause and the other the effect, as is well known. Similarly, the contemporaneous occurrence of two events only means that they are correlated. A correlate is not an alter ego. It is not an aspect of the same event. The brain activity is what appears WHEN pain happens it by no means follows that it IS the pain itself. A stronger argument would crystallize if it was convincingly and repeatedly demonstrated that playing back these patterns of brain activity induces the same pain. Even in such a case, we would be talking about cause and effect rather than identity of pain and its correlate in the brain. The gap is even bigger when we try to apply natural languages to the description of emotions and sensations. This seems close to impossible. How can one even half accurately communicate ones anguish, love, fear, or desire ? We are prisoners in the universe of our emotions, never to emerge and the weapons of language are useless. Each one of us develops his or her own, idiosyncratic, unique emotional language. It is not a jargon, or a dialect because it cannot be translated or communicated. No dictionary can ever be constructed to bridge this lingual gap. In principle, experience is incommunicable. People in the very far future may be able to harbour the same emotions, chemically or otherwise induced in them. One brain could directly take over another and make it feel the same. Yet, even then these experiences will not be communicable and we will have no way available to us to compare and decide whether there was an identity of sensations or of emotions. Still, when we say sadness, we all seem to understand what we are talking about. In the remotest and furthest reaches of the earth people share this feeling of being sad. The feeling might be evoked by disparate circumstances yet, we all seem to share some basic element of being sad. So, what is this element? .ub33cecf90fcf87c9cae6e1c970d4e346 , .ub33cecf90fcf87c9cae6e1c970d4e346 .postImageUrl , .ub33cecf90fcf87c9cae6e1c970d4e346 .centered-text-area { min-height: 80px; position: relative; } .ub33cecf90fcf87c9cae6e1c970d4e346 , .ub33cecf90fcf87c9cae6e1c970d4e346:hover , .ub33cecf90fcf87c9cae6e1c970d4e346:visited , .ub33cecf90fcf87c9cae6e1c970d4e346:active { border:0!important; } .ub33cecf90fcf87c9cae6e1c970d4e346 .clearfix:after { content: ""; display: table; clear: both; } .ub33cecf90fcf87c9cae6e1c970d4e346 { 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; } .ub33cecf90fcf87c9cae6e1c970d4e346:active , .ub33cecf90fcf87c9cae6e1c970d4e346:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub33cecf90fcf87c9cae6e1c970d4e346 .centered-text-area { width: 100%; position: relative ; } .ub33cecf90fcf87c9cae6e1c970d4e346 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub33cecf90fcf87c9cae6e1c970d4e346 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub33cecf90fcf87c9cae6e1c970d4e346 .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; } .ub33cecf90fcf87c9cae6e1c970d4e346:hover .ctaButton { background-color: #34495E!important; } .ub33cecf90fcf87c9cae6e1c970d4e346 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub33cecf90fcf87c9cae6e1c970d4e346 .ub33cecf90fcf87c9cae6e1c970d4e346-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub33cecf90fcf87c9cae6e1c970d4e346:after { content: ""; display: block; clear: both; } READ: Albrecht DurerWe have already said that we are confined to using idiosyncratic emotional languages and that no dictionary is possible between them. Now we will postulate the existence of a meta language. This is a language common to all humans, indeed, it seems to be the language of being human. Emotions are but phrases in this language. This language must exist otherwise all communication between humans would have ceased to exist. It would appear that the relationship between this universal language and the idiosyncratic, individualistic languages is a relation of correlation. Pain is correlated to brain activity, on the one hand and to this universal language, on the other. We would, therefore, tend to parsimoniously assume that the two correlates are but one and the same. In other words, it may well be that the brain activity which goes together is but the physical manifestation of the meta-lingual element PAIN. We feel pain and this is our experience, unique, incommunicable, expressed solely in our idiosyncratic language. We know that we are feeling pain and we communicate it to others. As we do so, we use the meta, universal language. The very use or even the thought of using this language provokes the brain activity which is so closely correlated with pain. It is important to clarify that the universal language could well be a physical one. Possibly, even genetic. Nature might have endowed us with this universal language to improve our chances to survive. The communication of emotions is of an unparalleled evolutionary importance and a species devoid of the ability to communicate the existence of pain would perish. Pain is our guardian against the perils of our surroundings. To summarize : we manage our inter-human emotional communication using a universal language which is either physical or, at least, has strong physical correlates. The function of bridging the gap between an idiosyncratic language his or her own and a more universal one was relegated to a group of special individuals called artists. Theirs is the job to experience mostly emotions, to mould it into a the grammar, syntax and vocabulary of a universal language in order to communicate the echo of their idiosyncratic language. They are forever mediating between us and their experience. Rightly so, the quality of an artist is measured by his ability to loyally represent his unique language to us. The smaller the distance between the original experience the emotion of the artist and its external representation the more prominent the artist. We declare artistic success when the universally communicable representation succeeds at recreating the original emotion felt by the artist with us. It is very much like those science fiction contraptions which allow for the decomposition of the astronauts body in one spot and its recreation, atom for atom in another teleportation. Even if the artist fails to do so but succeeds in calling forth any kind of emotional response in his viewers/readers/listeners, he is deemed successful. Every artist has a reference group, his audience. They could be alive or dead for instance, he could measure himself against past artists. They could be few or many, but they must exist for art, in its fullest sense, to exist. Modern theories of art speak about the audience as an integral and defining part of the artistic creation and even of the artefact itself. But this, precisely, is the source of the dilemma of the artist: Who is to determine who is a good, qualitative artist and who is not? Put differently, who is to measure the distance between the original experience and its representation? After all, if the original experience is an element of an idiosyncratic, non-communicable, language we have no access to any information regarding it and, therefore, we are in no position to judge it. Only the artist has access to it and only he can decide how far is his representation from his original experience. .u6447d8ecee935d05175a7e9c35a34423 , .u6447d8ecee935d05175a7e9c35a34423 .postImageUrl , .u6447d8ecee935d05175a7e9c35a34423 .centered-text-area { min-height: 80px; position: relative; } .u6447d8ecee935d05175a7e9c35a34423 , .u6447d8ecee935d05175a7e9c35a34423:hover , .u6447d8ecee935d05175a7e9c35a34423:visited , .u6447d8ecee935d05175a7e9c35a34423:active { border:0!important; } .u6447d8ecee935d05175a7e9c35a34423 .clearfix:after { content: ""; display: table; clear: both; } .u6447d8ecee935d05175a7e9c35a34423 { 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; } .u6447d8ecee935d05175a7e9c35a34423:active , .u6447d8ecee935d05175a7e9c35a34423:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6447d8ecee935d05175a7e9c35a34423 .centered-text-area { width: 100%; position: relative ; } .u6447d8ecee935d05175a7e9c35a34423 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6447d8ecee935d05175a7e9c35a34423 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6447d8ecee935d05175a7e9c35a34423 .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; } .u6447d8ecee935d05175a7e9c35a34423:hover .ctaButton { background-color: #34495E!important; } .u6447d8ecee935d05175a7e9c35a34423 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6447d8ecee935d05175a7e9c35a34423 .u6447d8ecee935d05175a7e9c35a34423-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6447d8ecee935d05175a7e9c35a34423:after { content: ""; display: block; clear: both; } READ: Henri Toulouse LautrecArt criticism is impossible. Granted, his reference group his audience, however limited, whether among the living, or among the dead has access to that meta language, that universal dictionary available to all humans. But this is already a long way towards the representation the work of art. No one in the audience has access to the original experience and their capacity to pass judgement is, therefore, in great doubt. On the other hand, only the reference group, only the audience can aptly judge the representation for what it is. The artist is too emotionally involved. True, the cold, objective facts concerning the work of art are available to both artist and reference group but the audience is in a privileged status, its bias is less pronounced. Normally, the reference group will use the meta language embedded in us as humans, some empathy, some vague comparisons of emotions to try and grasp the emotional foundation laid by the artist. But this is very much like substituting verbal intercourse for the real thing. Talking about emotions let alone making assumptions about what the artist may have felt that we also, maybe, share is a far cry from what really transpired in the artists mind. We are faced with a dichotomy : The epistemological elements in the artistic process belong exclusively and incommunicably to the artist The ontological aspects of the artistic process belong largely to the group of reference but they have no access to the epistemological domain And the work of art can be judged only by comparing the epistemological to the ontological. Nor the artist, neither his group of reference can do it. This mission is nigh impossible. Thus, an artist must make a decision early on in his career: Should he remain loyal and close to his emotional experiences and studies and forgo the warmth and comfort of being reassured and directed from the outside, through the reactions of the reference group, or should he consider the views, criticism and advice of the reference group in his artistic creation and, most probably, have to compromise the quality and the intensity of his original emotion in order to be more communicative.