theories on crime comparison - 1138 Words

Theories on Crime Comparison AJS 542 October 14, 2013 Professor Packer Theories on Crime Comparison Every individual is different from the next. The same goes for crime. Society recognizes the multiple types of crimes that exist in society because of this, theorists identify different levels why these crimes exist. This paper will provide information on sociological theory including the relationship between personality and criminal behavior according to sociological theory. Also, this paper will provide a comparison on each key elements on sociological theory, biological theory, and psychological theory. In addition, the paper will allow each reader to understand the philosophical basis for each†¦show more content†¦Max Weber (1864–1920) argued that who has power was determined not only by social class and control of material resources, but also by—among others—social status and organizational power. These social resources draw their power from peoples willingness to obey the authority of another person, which is in turn based on their perception of the legitimacy of that persons right to rule (Witt, 2009, p. 1). Biological Theory Biological theory studies the science of the brain and genetics to identify any links between biological factors and criminal activity. Cherry (2013) states, â€Å"One of the best known biological theorists was Hans Eysenck, who linked aspects of personality to biological processes. Eysenck argued that introverts had high cortical arousal, leading them to avoid stimulation. On the other hand, Eysenck believed extroverts had low cortical arousal, causing them to seek out stimulating experiences† (p. 1). An individuals with an introvert personality often shows signs of shyness and lacks confidence, whereas an extrovert is outgoing and confident. Psychological theory Key elements to psychological theory consist of mental health, hormones, and even neurological issues. When one finds he or she has a mental health problems it causes an imbalancement in the brain that can cause one to commit a crime without the knowledge of the wrong-doing. Hormone imbalancements can cause similar problems. Many imbalancements in the body canShow MoreRelatedTheories of Crime Comparison1157 Words   |  5 PagesTheories on Crime Comparison Angelika L. Arnold AJS/542 May 20, 2013 Marcela Morales Theories on Crime Comparison For several years, theorists have come to the conclusion that people commit crimes for several differentRead MoreA Critical Comparison Of Marxist Theory And Merton’S Strain1530 Words   |  7 Pages  A Critical Comparison of Marxist Theory and Merton’s Strain Theory of Deviance. Introduction: This particular work will consist of a critical theoretical review and a comparative analysis on two criminological theories. For the comparison I have chosen Marx’s theory of crime and Merton’s strain theory of deviance. My critical comparison analysis will emphasise the central concepts and arguments within both theories and how each theory explains crime. The analysis will then explore modern dayRead MoreCja 314 Crime Data Comparison Essay1627 Words   |  7 PagesSUBMITTED FOR GRADING, SO PLEASE DON’T PLAGIARIZE. Crime Data Comparison: Honolulu amp; New York NAME CJA 314 DATE PROF. Crime Data Comparison Crime is something that occurs throughout the world. To some people it is an incident that adds stress to one’s life, and to others, they see it as a way of life. Over the last years, different areas of the United States have been affected by crime. The Federal Bureau of Investigation Uniform Crime Report (UCR) Program is a nationwide program thatRead MoreMajor Types Of Social Structure Theories783 Words   |  4 Pagesmajor types of social structure theories, and the three major types of social structure theories are social disorganization theory, strain theory, and culture conflict theory. Also, I will, include the major principles for each perspective. In this I will define social structure , and I will detail key points in each of these subjects. Introduction Social order,and economics in society explains crime by reference to the Social Structure theory. This type of theory makes important relationships amongRead MoreCritical Theories Of Criminology903 Words   |  4 Pagescriminology providing a comparison as well as a contrast to each. Discussion There are several theories developing critical theories of criminology, the first discussed in this paper will be conflict theory (Bohm Vogel, 2011). The conflict theory is the inequality of competing groups, moreover, the different social statuses of individuals. This theory compares the differences in white collar crime to the crime of the blue collar class. White collar crime is mostly money-related crimes, including embezzlementRead MoreA Perfect World, Economic Inequality1337 Words   |  6 Pageswith or deviated from based on a person’s zip code. If within this perfect world crime did exist, the ramifications of criminal acts would be blind to race, wealth, or family name. Unfortunately, the illustration of a perfect world is far from it, it’s nonexistent. The world we live in today is full of disparities. There are special rules and special laws for certain people especially when it comes to crime and punishment. Everyone is not created equal. Society looks up to the wealthyRead MoreMyths In The Criminal Justice System Have Plagued The Public1212 Words   |  5 Pageseffectiveness of this myth can be debunked and disproven. In order to discuss the myths surrounding violent crime in New York State, understanding the current data and trends is essential. To establish the general consensus of what people think about violent crime in New York State, I conducted a small poll of people in my area. In essence, the aim was to see whether or not people felt violent crime rates had risen or fallen in New York State. The poll consisted of a short questionnaire that first establishedRead MoreThe Deterrence Theory Vs. Deterrence853 Words   |  4 Pages Classic Deterrence Theory A rational person is thought to measure both the gains and losses before committing a crime and would more than likely to be deterred from violating the law they believed the loss was greater than the gain according to the deterrence theory. The deterrence theory is based on the belief that humans control their behavior based on the perceived rewards and punishments that would result from such actions. Which has led many theorists to believe that the proper to punish, aRead MoreThe Development of the Chicago Schools1684 Words   |  7 PagesThis essay will attempt to trace the development of the ecological studies of crime found by the Chicago School and how the findings have shaped our understanding of crime in the 21st century. Firstly by introducing the Chicago School theory, also known as the, Theory of Social Disorganisation and the Ecological School Theory. The University of Chicago formed a department of Sociology in 1892 its focus related to issues in Criminology and Sociology, with interests in and towards Social PsychologyRead MoreThe Theory Of Crime Resistance And Susceptibility Essay1551 Words   |  7 Pagesexploration of the theory. Lastly, survey items adapted from substantiated scales will be presented at the conclusion of this paper. Theoretical Overview Agnew’s theory of crime resistance and susceptibility (TCRS) (Agnew, 2016) serves as the theoretical framework for this research. From this perspective, certain individuals are more susceptible to the onset of criminality emanating from social forces and life experiences described in the three dominant criminological theories. That is, pressures

My Mother Never Worked By Bonnie Smith Yackel - 1593 Words

In Bonnie Smith-Yackel’s essay â€Å"My Mother Never Worked† she passionately defends her mother after Social Security refuses to grant her death benefit check. Yackel does not realize that Social Security fairly distributes benefits to contributing Americans. Social Security was reasonable to not granting benefits to a woman who never contributed as a wage earner. It would not be fair if benefits were granted to a fraud who never paid wage taxes compared to wage earners who do. Americans who abuse Social Security benefits by committing fraud is unethical and not to mention illegal. Americans that are in desperate need for Social Security benefits require it far more than frauds. By eliminating fraud the government can properly grant social benefits to hard working Americans. Social Security benefits should be permitted to Americans that work and provide back to their country or they are disabled. Hard-working citizens that pay their duties will receive back from benefi ts, including employees that are qualified as disabled. Benefits should not be granted to any citizen that makes no contribution to their country such as, tax deductions from their wages. Furthermore, Social Security needs to reach out to the majority which is the poverty-stricken. By informing impecunious people and immigrants of Social Security it could save them from the poverty they suffer from. Even though, Social Security relieves some citizens from a financial burden there are still many improvements to beShow MoreRelatedMy Mother Never Worked By Bonnie Smith Yackel1153 Words   |  5 Pagesof knowledge through my college studies at STLCOP to reach my goal of becoming a pharmacist. As with every situation, struggles will arise along the career path, suggesting a link between the drama in each person’s life alongside the eternal pace and rhythm of conflict and conquest. During this journey of making a mark upon this world, various challenges will arise, which I expect to experience and overcome. As seen in Bonnie Smith-Yackel’s narrative â€Å"My Mother Never Worked,† a mother’s conflictsRead MoreSandra Cisneross Only Daughter AndMy Mother Never Worked952 Words   |  4 PagesIn the narrative, â€Å"Only Daughter†, by Sandra Cisneros, and in the story, â€Å"My Mother Never Worked†, by Bonnie Smith-Yackel, the authors redefine stereotypes of women. Sandra Cisneros endured many hardships throughout her childhood since, she is a female and females were degraded in her society. Smith-Yackel is horrified to find out that her mother is considered to have â€Å"never worked†, because she did not have a formal job. In both these works of literature, the author’s central theme is to redefineRead MoreHow Can Love Be Long Lasting?884 Words   |  4 Pagessuccessful relationships are spontaneous and romantically ready. Little things like bringing the spouse roses every Friday. Just keeping that spark alive is what marriage is about. Some parent’s aren’t as enticed with love letters like Bonnie Smith-Yackel â€Å"My mother never worked†Pg 95. Her parent’s kept the light sparking between them. When marrying into a relationship sharing is caring. The relationship is built on shared interests and values. Each spouse could bring love or hate into the marriage. HowRead MoreBenefits And Benefits Of Social Security1546 Words   |  7 PagesIn Bonnie Smith-Yackel’s essay My Mother Never Worked she passionately defends her mother after Social Security refuses to grant her death benefit check. Yackel does not realize that Social Security fairly distributes benefits to contributing Americans. Social Security was reasonable to not granting benefits to a woman who never contributed as a wage earner. Hence it would not be fair if benefits are granted to a fraud who never paid wage taxes compared to wage earners who do. Americans who abuse

Can One Form of Music Be More Authentic Than Another free essay sample

There are many different forms of music all of which have individual styles and characteristics. These forms and styles are generally categorized, by the media, music Industry and audiences, Into musical genres. These genres are more or less determined by such factors as geographical location, for example Nashville and Country Western; time period, for example SASS and Rockabilly; social relevance, for example sasss and Punk; and of course the variables of musical form itself including instrumentation, technique and particularly the distinctions made betweenArt, Pop and Traditional music. The emergence of new genres, or sub-genres, can in truth occur from an almost infinite number of variable distinctions. In his essay Genres, Submerges, Sub-submerges and More Chamber Mcleod argues that in electronic music the naming of new submerges can be linked to a variety of influences, such as the rapidly evolving nature of the music, accelerated consumer culture, and the synergy created by record company marketing strategies and music magazine hype. The appropriation of the music of minorities by straight, middle and upper-middle-class whites in the United States and Great Britain plays a part, and he rapid and ongoing naming process within electronic/dance music subcultures acts as a gate-keeping mechanism, as well. (Shepherd, 2003) This would suggest that the orally, dimension and Indeed authenticity of a music genre Is determined by many variables and these factors contribute to the over lapping and constant fluctuation of musical styles and forms..In this essay I will be discussing whether or not one form, or indeed genre, of music can be more authentic than another. But what do I mean by authenticity? The word Itself comes from the Latin authentic, meaning from the author, and the Brothels helicopter, J. L. Austin called this word, along with Its near relations, real, ;genuine and true, a ;dimension word. He goes on to explain that this is a term whose meaning remains uncertain until we know what dimension of its referent is being talked about.A forged painting, for example, will not be inauthentic in every respect: a Han van Mongered forgery of a Vermeer is at one and the same time both a fake Vermeer and an authentic van Mongered, Just as a counterfeit bill may be both a fraudulent token of legal tender but at the same time a genuine piece of paper. 0. L. Austin, 2003) It is clear that what. L. Austin means is that the meaning of the word authenticity can only be interpreted by its context.So how does this relate to music and its many forms? While referring to the classical genre, Dennis Dutton** suggests in his essay Authenticity In Art that With a painting there normally exists an original, nominally authentic object that can be identified as the original; nothing corresponds to this In music. Even a composers own performance of an Instrumental Rite of Spring -? cannot fully constrain the interpretive choices of other performers or define for ever the authentic performance. Dutton, 2003) It is clear from this that Dutton believes that defining authenticity in music, particularly in the classical art form, is an almost impossible task in the context of performance interpretation. One can normally identify the author of the score, but even the author themselves can never truly represent or define authentic performance. This notion of determining the original however, is o nly one context of authenticity ideology upheld within music.According to John Shepherd* in his book The Continuum Encyclopedia of Popular Music of the World, in popular and traditional music, the notion of authenticity has generally been positioned around ideas related to historical continuity, artistic expression and sincerity, autonomy from commercial imperatives, technology and production, the expression of and the engagement with cultures of certain audiences as well as communities and localities. (Shepherd, 2003) Coyly and Dolan (1999) also argue that authenticity is a socially constructed tool in the marketing of Popular music: Authenticity is a sign and not a quality, and like any sign it functions differentially and deferentially. In the world of commerce authenticity is simply a matter of trademark. Both these theories express views based within semiotics.Both theories suggest that artists, and the industry that markets them, use signs and symbols to connote impressions of authenticity. If we relate what Coyly and Dolan suggest to music specifically, you could argue that authenticity is in fact, ironically, a fabricated ideology of a commercial process. In 1965 the American Folk music revival was in full swing in North America and Bob Dylan was the leader of the pack.Hailed by critics and fans alike as the spokesperson for a generation, Dylan articulated songs with which the anti-establishment, mainly nouns and liberal, could identify, while at the same time connecting w ith the more traditionalist folk audiences through the ideological aesthetics of the genre such as authentic artistic expression, lyrical prowess over musical technique and valuing art over commerce. The latter is ironic due to his already established status as a hugely commercial musician involved heavily within the popular music industry.Many theorists, such as Stratton believe, Just as Coyly and Dolan suggested, that the creative process has often been mystified by the artist and the music industry to conceal the rational workings of capitalism. Therefore, despite the personae of popular musicians as free artists, there are many rules and formulations they must adhere to in order to be commercially viable within the capitalist system of the music industry. For a start, pressure on Dylan would be to make money for the record label he was signed to.It was fortunate for the company that Dylan tapped into the zeitgeist of the period. Dylan himself exposed this notion when in 1965 at the Newport Folk Festival, he took to the stage not as a solo artist with an acoustic guitar, as the dominant perception of a traditional folk musician dictates, but with a full electric band as well, more akin to the popular English rock and pop bands of the time such as The Beetles and the Rolling Stones.Many of the members of the crowd started to boo Dylan and his band and, in probably the most famous heckle of all time, someone even shouted Judas, suggesting that Dylan had betrayed his fans traditionalist folk audience. No one knows exactly who or why members of the crowd decided to boo Dylan, but it has been suggested that it was because the traditionalist folk element in the crowd, of which there were many, it being a specifically folk activates, believed that Dylan going electric was a sign of him pandering to the record industry and exposed his eagerness for commercial success over artistic authenticity.This notion of pandering to capitalism is commonly known as selling out and consequently their oppositional reading. John Shepherd noted in his book, The Continuum Encyclopedia of Popular Music of the World, that Such formulations of selling out tend to be modeled on popularization involving art and commerce, independent and corporate, underground and mainstream, or on particular artists losing touch with their audience by changing style or acceding to commercial production techniques. Of course there are many different ideological expectations regarding authenticity, and it is clear from Dylan success that many had a dominant reading of his music, which appealed to a wider audience familiar with, and eager to invest in, electronic and rock genres. During the late sass, and throughout the sass, the Rock and Pop music genres, along with their new sub-genres, including Progressive Rock, Punk, Soul and Disco, became ideologically distinct, particularly where authenticity was concerned.The ideology of authenticity within the folk genre, including themes of art over commerce and authentic artist expression, were, and still are, apparent within the commercial and social understanding of Rock music. Audiences perceived, and artists and the music industry portrayed, Rock musicians as the more authentic form of popular and traditional music, as opposed to pop music, which was generally understood as mere entertainment by critics and audiences. This is due to the fact that Rock music is thought to have its roots in traditional musical genres such as Folk, Blues andCountry, drawing from its musical styles and techniques, whilst also sharing their ideologies and aesthetics, particularly the notion that the music should articulate and represent the feelings and concerns of its core audience, or indeed demographic. This in turn meant that Rock music, along with many of its sub-genres, will always have to adhere to the expectations placed on it by the audience in terms of authenticity, or risk losing that audience by being deemed to sell out. There are of course many forms of Rock and Pop music, each of them with their own notions and contexts of authenticity to uphold. For instance, the submerge Progressive Rock has its roots, not in Folk or Blues, but in elitist art forms of music such as Classical and Jazz music, and although the genre shares the same stages and media outlets as other forms of popular music, especially Rock music, it is generally read and understood as being a form of art music that transcends both Popular and Traditional music in terms of technical ability and musicianship.Because of this, Progressive Rock bands, such as Pink Floyd and Rush, do not have to adhere to the ideology of authenticity that many other genres would have to, and can trade on a rand scale without the need to fear being exposed as part of a capitalist process. Around the same time, Mouton records was producing and releasing an incredibly The initial perception of this music was that it was Just pop music, created for entertainment purposes only.It was perceived to have very little artistic merit, and although critics and audiences alike understood and accepted the ability of the musicians and songwriters involved, the performers themselves, and the songs they sang and endorsed were not deemed authentic in the traditional context of Pop and Rock music ideology. They didnt often, and in some cases ever, write their own songs, immediately connoting an impression of a factory like, capitalist attitude towards producing music. However, recently, the record label, and indeed the Soul and Funk genres it championed, have been critically acclaimed for providing a platform and voice for black performers who were marginals by the predominantly white, male dominated record industry.It has also been noted that Mouton appealed, not Just to black performers and a black audience, but to a young, intellectual white audience who approached the music with a negotiated reading, recognizing the racist attitudes awards black performers and developing an appreciation of their music as a move towards empowerment, not Just in terms of determining what music they chose to produce and control but also of the black movement as a whole.The factory like attitude towards producing music has even, in a strange U-turn of ideology, been critically acclaimed for its efficie nt and prolific output. Midtowns music has always been widely appreciated and commercially successful, but only recently has it been regarded in the mainstream with the same context of authenticity that defines most Rock, Folk, Art and Traditional music. It certainly is difficult to define whether or not one form of music can be more authentic than another.Due to the intrinsic dimensional quality of the word itself, and the many different contexts in which it is appropriated and interpreted by different audiences, creators and theorists, it would appear that there is never going to be one defining example or interpretation of an authentic form of music. In the process of writing this essay I have come to agree with J. L. Austin, when he wrote that authentic is a term whose meaning remains uncertain until we know what dimension of its referent is being talked about.