We can work on Juvenile Justice & Delinquency Theory

Write an essay of 750-800 word, divided into three sections, from the perspective of the police officer, the state’s attorney, and the judge. Do each of these

components of the criminal justice system see the offender as a status offender for any of the charges? Discuss your opinion of the status offender from the

perspective of each criminal justice component (law enforcement, states attorney, and the judge). Are the charges viewed by each of the criminal justice

components listed below as delinquent acts?

From the perspective of the police officer
What typically happens to this juvenile before he even goes to juvenile court? How does law enforcement process the incident?
From the perspective of the state’s attorney
Make suggestions to the court on how the boy should be punished/sentenced.
From the perspective of the judge
Based on the facts of the case and the procedures of the juvenile justice system, what would be the most appropriate finding for the court? What options does

the judge have in this incident?
Be sure to cite all references in APA format.

Sample Solution

First distributed in 1992, Immediate Family by Sally Mann is 10 years in length arrangement comprising of cozy photos of her three youngsters: Emmett, Jessie, and Virginia. Taken at their mid year home in Lexington, Virginia, the work is a blend of authentic perception and created fiction – nature and stratagem. As a look into the multifaceted nature of adolescence and family, Mann centers around the emotional idea of the photo and its division from the real world. Mann regularly recorded the darker side of youth to bring the watcher into their own feelings of trepidation. Capturing her youngsters bare, harmed, or in other helpless positions: Mann started in 1984 with the photo Damaged Child, demonstrating Jessie with her face swollen from bug nibbles. She later followed to record such cozy minutes as Emmett’s bleeding nose, Virginia’s wet bed in The Wet Bed, and Jessie’s moving bare on a table in The Perfect Tomato. During such, Mann makes evident the division she had made among herself and her kids when set on rival sides of the camera, as to recognize a qualification among past and future – reality and image. Barthes plots in Camera Lucida that a private life is as yet conceivable inside the parameters of obtrusiveness made when a camera is available. He contends that the move of making a photo shapes an item out of the subject, through deification as an observer for death. He composes that the way toward shooting is to encounter a flashing demise of the subject where they remain briefly deified, accordingly the subsequent subject made past the picture exists in a modified structure, exclusively developed by the demonstration of capturing. The picture delivered no longer stays indexical of the subject, rather the photo turns into a bogus reality. The picture is contained inside the stillness and quietness of the edge, as contextualized in Sally Mann’s work Immediate Family. This article will investigate through basic examination: the photos, pundits reaction and the equals each make to Roland Barthes hypothesis of level demise nitty gritty in Camera Lucida, with further examination into Susan Sontag’s On Photography and Ariella Azoulay’s Photography: The Ontological Question. Barthes conjectures that a detachment is made when the body is set before the focal point through an intrusive force dynamic in which figures an alteration to the current body. He states, “I loan myself to the social game, I present, I realize I am presenting, I need you to realize that I am presenting” (Barthes 11) as a change of the subject into an article. Barthes further clarifies that he is “neither subject nor object however a subject who feels he is turning into an article.” (Barthes 14) Through the way toward being shot as a “miniaturized scale form of death,” the focal point goes about as an arrangement in a record. (Barthes 14) The picture turns into the demise of the subject before the focal point, as they are since modified by the introduction being delivered. The individual who once stayed before the focal point is not, at this point a similar individual after the picture is taken. As a characteristic observer of what has been, the picture starts to go about as a landmark, containing a destruction of time: a record of what is dead and what is going to bite the dust. (Barthes 96) Shot on a 8″ x 10″ see camera at their homestead in Virginia, Mann’s photos are suggestive of the relationship worked among mother and kid. Mann writes in the foreword to her distribution of Immediate Family: “We are turning an account of what it is to grow up. It is a convoluted story. [… ] But we tell it without dread and without disgrace.” (Mann 7) Through her work, Mann talks about the objectivity made through the viewpoint – an idea suggestive of Roland Barthes “level passing”. While making an obstruction of trust, Mann kept up the pride of those she photos, protecting an open exchange and shared collaboration with the pictures, one that gets conspicuous through the sheer closeness, affectability, and insightfulness of her pictures. >

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