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Question 1. Duffee and Maguire introduce us to the idea of criminal justice theory, in contrast to criminological theory, as a way of understanding how the justice system and its various components operate. From your readings of their work, and the other readings for the course to date, what is the science of criminal justice? What are its central questions? In what ways do theories of criminal justice inform our understanding of the justice process? What are the limitations of theories of criminal justice? Choose either question 2 or question 3 (do not answer both) Question 2 Rational legalism and functional systems theories have at different points in history revolutionized aspects of the American criminal justice system. Compare and contrast the two theoretical frameworks. What are the key principles of each theory, and how do they differ? What assumptions do proponents of each perspective make about the criminal justice system and its actors? What are the implications of each perspective for efforts to âreform the criminal justice system.â
Sample Solution
His lips would not bend to kiss her. He wanted to be held firmly in her arms, to be caressed slowly, slowly, slowly. In her arms he felt that he had suddenly become strong and fearless and sure of himself. But his lips would not bend to kiss her. (Joyce 94-5) From his early school days on, Stephen is at the edge of group life, observing himself. As he grows older, he becomes even more absorbed in his own ideas until he finally withdraws from his familiar surroundings (Brandabur 159). In contrast, it is also Stephenâs acceptance of his own sinfulness that sets him free. Guilt and fear of punishment keep him in a sterile, pale world of virtue where he is always hounded by the pressure to confess, admit, or apologize (Drew 276). By committing a mortal sin of impurity and falling from grace like Adam from Paradise, like Lucifer expelled from Heaven, or even like Icarus from freedom, he is thrust back into the earthly world of the senses, a world that releases his creative powers (Booth 227): Could it be that he, Stephen Dedalus, had done these things? His conscience sighed in answer. Yes, he had done them, secretly, filthily, time after time and, hardened in sinful impenitence, he had dared to wear the mask of holiness before the tabernacle itself while his soul within was a living mass of corruption. How came it that God had not struck him dead? (Joyce 131) Stephen will sin again and again, but instead of confessing he will write. Stephenâs metaphoric descent into hell, like his ascent into an aesthetic heaven, is private, uniquely vouchsafed him by a higher power (Pope 114). Stephen is the son of Dedalus, and what the son of Daedalus did was fall. It seems clear that Stephen sees himself as a figure who, even if he heeds his fatherâs advice, will eventually fly too high and fall (Kenner 231). Living in the earthly world, Stephen fears many things. He has a fear of water (also giving allusion to Icarusâ demise) since he views it as an emblem of his own futility. Ironically it is the seaside epiphany, where he sees a beautiful young girl, which awakens him to the demands of life (Litz 68): âShe passed now dancing lightly across>
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His lips would not bend to kiss her. He wanted to be held firmly in her arms, to be caressed slowly, slowly, slowly. In her arms he felt that he had suddenly become strong and fearless and sure of himself. But his lips would not bend to kiss her. (Joyce 94-5) From his early school days on, Stephen is at the edge of group life, observing himself. As he grows older, he becomes even more absorbed in his own ideas until he finally withdraws from his familiar surroundings (Brandabur 159). In contrast, it is also Stephenâs acceptance of his own sinfulness that sets him free. Guilt and fear of punishment keep him in a sterile, pale world of virtue where he is always hounded by the pressure to confess, admit, or apologize (Drew 276). By committing a mortal sin of impurity and falling from grace like Adam from Paradise, like Lucifer expelled from Heaven, or even like Icarus from freedom, he is thrust back into the earthly world of the senses, a world that releases his creative powers (Booth 227): Could it be that he, Stephen Dedalus, had done these things? His conscience sighed in answer. Yes, he had done them, secretly, filthily, time after time and, hardened in sinful impenitence, he had dared to wear the mask of holiness before the tabernacle itself while his soul within was a living mass of corruption. How came it that God had not struck him dead? (Joyce 131) Stephen will sin again and again, but instead of confessing he will write. Stephenâs metaphoric descent into hell, like his ascent into an aesthetic heaven, is private, uniquely vouchsafed him by a higher power (Pope 114). Stephen is the son of Dedalus, and what the son of Daedalus did was fall. It seems clear that Stephen sees himself as a figure who, even if he heeds his fatherâs advice, will eventually fly too high and fall (Kenner 231). Living in the earthly world, Stephen fears many things. He has a fear of water (also giving allusion to Icarusâ demise) since he views it as an emblem of his own futility. Ironically it is the seaside epiphany, where he sees a beautiful young girl, which awakens him to the demands of life (Litz 68): âShe passed now dancing lightly across>
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