A police officer’s job is about ensuring the protection of basic moral rights, including the right to life, liberty, physical and property security. The overall outcome or goal of policing is the protection of constitutional rights. However, there have been times when police have engaged in unethical and immoral practices when doing their job which have resulted in important U.S. Supreme Court decisions.
Research and find a U.S. Supreme Court case that addresses unethical police decisions or immoral practices by the police. Provide a brief synopsis of the case and discuss how the Supreme Court views procedural justice and/or police misconduct.
The Owl and the Pussy-Cat In this paper I will dissect Edward Lear’s sonnet ‘The Owl and the Pussy-Cat’ (Appendix 1), first giving a specialized expressive investigation focusing on sound designing, besides finding its place in the historical backdrop of verse for youngsters, and thirdly how the lyric conceives youth. Written in December 1867 for the girl of a dear companion of Lear, it was first distributed in a collection by Lear entitled Nonsense Songs, Stories, Botany, and Alphabets (1871). From that point forward it has been distributed, represented, made an interpretation of, and set to music ordinarily. In 2001 it was voted Britain’s most loved ballad. Lear utilizes basic, however imaginative dialect to recount the captivating story of the voyaging sweethearts; the disjointed winged animal and feline. Involving three stanzas, every eleven lines in length, it comprises of twin melody quatrains and a three-line hold back, created in an unmistakable versifying meter. The rhyme plot is ‘abcbdefe’ exchanging somewhere in the range of four and three focused on syllables for each line, trailed by the hold back ‘eee’ comprising of two lines with only one focused on syllable, and a last line with three. This uniform rhyme plot gives the sonnet melodic structure, as well as connects the altogether different parts of the story. The cadenced parallelism of the holds back, in which each of the three lines end with the same focused on word, is a strict example in itself and closer views this piece of the sonnet as it goes up against an incantatory feel. In spite of the fact that the abstains are not the predominant structure of the sonnet, they do include melodic fortification. The general metrical example is the thing that gives the sonnet its rising musicality (anapests) and sing tune shape and there is little to upset the stream of the cadence, or the story. The point at that point is effortlessness and reiteration; in reality the principal example of redundancy happens in the opening line, which includes the lyric’s title words in this way reaffirming the focal point of the ballad. In any case, in the main stanza, the most detectable sound example is the grouping of/p/sounds; a phonological parallelism that reaches out over the content with the words ‘Pussy’, ‘pea’, ‘bounty’ and ‘pound’ and also happening in ‘wrapped’ and ‘up’. The repeat of this plosive consonant copies the culling of guitar strings, which improves the cadence as well as the visual impact of the serenading owl. While the plosive/p/in ‘Pussy’ matched with the/b/in ‘wonderful’ isn’t exactly alliterative, it is resonant and tempting of music, mirroring the profundity and energy of the owl’s charms. Note that Lear likewise utilizes accentuation to stress meaning; the outcry marks toward the finish of lines ten and eleven indicate a statement of the owl’s emotions recommending that the relationship is in fact something other than fellowship. Notwithstanding reiteration and similar sounding word usage, Lear utilizes solid full rhymes to strengthen sound, which means and beat, and they have a functioning influence in the state of mind and motivation behind this lyric. Idealize end rhymes are the most recognizable, however there are likewise solid interior rhymes, to be specific happening in each third line of every stanza, yet in addition in the fifth line in the second and third ones. This blend of one and two syllable rhymes go about as a sub-abstain bringing the tune sound ‘all around’ again to our ears while the content turns out to be increasingly unconventional. Sound and musicality are additionally drawn out into the open by the tolling end rhyme amongst ‘sing’ and ‘ring’ in lines thirteen and fifteen. The words are splendid and short, similar to the vowel sound, however taken after by the consonant/ng/the sound is broadened, and the reiteration of ‘ring’ in the hold back mimickes the ringing of a ringer where we may hear the onomatopoeic reverberation of ‘bong’ (from ‘bong-tree’). The third stanza comes full circle in a grouping of inward and harmonious rhymes which summon a visual and aural devour to coordinate the wedding dinner itself, with the last lines bringing out the who-o-o, who-o-o of an owl through the long vowel/oo/in ‘moon’. Every one of the characteristics of melody are available: delight, simplicity of redundancy, memorability, musicality, rhyme and holds back. The clear immediacy of these components rise up out of extremely customary standards and Lear’s clever association. Other than musicality, the other primary element of the lyric is ‘word-play’ with Lear consolidating infrequent designed words: ‘bong-tree’, ‘Piggy-wig’ and the garbage descriptive word ‘runcible’. And in addition having an entertaining impact, they present components of unconstrained dream that intersperse the dreamlike adventure of the anthropomorphised creatures. In spite of the fact that these words seem made-up regardless they stay, just, inside our typical desires for English. In any case, the way that they do veer off from the sonnet’s encompassing basic dialect implies they are foregrounded, along these lines, the peruser/audience gives careful consideration to them since they are fulfilling to state without fundamentally making sense. Despite the fact that ‘runcible’ has no genuine significance (in spite of the fact that it has since been prominently characterized as a three-pronged fork bended like a spoon) it has a phonological energy with the moving of the ‘r’ in ‘run’ trailed by the two syllables in ‘cible’. The hyphenation of ‘Piggy-wig’ really consolidates the phonemes and implications of two words, ‘pig’ and ‘wig’, managng to prevail as an interior rhyme. While the incorporation of these words doesn’t generally add anything to the importance of the expression, they do in any event manage, and potentially reinforce the musicality. It isn’t until the last stanza that the musicality is upset marginally by the ‘running over’ of line twenty-three into twenty-four immediately. The impact of this enjambment is that we are rushed on to a urgent stage in the story, the time when an exchange happens. The caesura at the word ‘ring’ makes an interruption, as well as a concise strain as we anticipate the pig’s answer. Note that the immediate discourse in these lines references customary marriage pledges fortified by the weight on the words ‘willing’ and ‘will’. Moreover, this exchange additionally brings the ‘genuine’ world closer to the surface. Without a ring the marriage can’t occur. Just when the ‘arrangement’ has been done can the story, and along these lines the sonnet, proceed as previously. Once the consistent musicality resumes it drives the account ahead, finishing with cat and fowl moving ‘as one, on the edge of the sand… by the light of the moon’. Symbolism made by the evening glow (customarily conjured as being sentimental) implies the charm of the scene moves on with the dream sweethearts and is the place the peruser/audience needs to abandon them. Regardless of the capricious story and word-play the sonnet is positively tied down by the solid rhyming ‘stride’ woven through the customary number type of tetrameter and trimeter. The rising rhythms move the ballad along while being controlled by the full and stable rhymes, making it exceptionally fulfilling. Lear’s ability first observed the light of day in A Book of Nonsense (1846) containing an accumulation of his limericks and entertaining delineations which demonstrated a prompt accomplishment with perusers and commentators. Lear’s work, alongside that of Lewis Carroll, created and promoted hogwash writing, particularly with respect to their utilization of ‘jabber’ words, in this way, it is regularly observed as an unmistakably ‘Victorian classification’. However, abstract hogwash existed well before this and, as Styles calls attention to in her paper about the historical backdrop of verse for youngsters, can be followed back to the ‘ferocity of the nursery rhyme’ (Styles, p. 211). These antiquated and conventional rhymes from the oral custom, naturally known as ‘Mother Goose’ rhymes, are a gathering of sections, bedtime songs, rhymes and tunes offering silliness, reiteration and narrating, albeit few were initially made or planned for kids. Eighteenth century verse considered appropriate for kids was generally pedantic or moralistic, and frequently gutless. Its central points were worried about sparing the spirit and making great character and, as other youngsters’ writing, for the most part mirrored the thoughts that grown-ups held about what kids ought to be occupied with. Be that as it may, as Puritanism faded and new thoughts regarding youth rose, idyllic accumulations composed particularly for youngsters started to show up. Tommy Thumb’s Song Book (1744) was the principal endeavor to put nursery rhymes from the oral convention into print, and two accumulations from William Blake in 1789 and 1794, despite the fact that not particularly composed for youngsters, captured the quintessence of adolescence. Different volumes of tyke focused verse showed up in the early piece of the nineteenth century, and despite the fact that artists as of now kept on following in the same moralistic custom there was a developing enthusiasm for youngsters’ feelings and encounters. The mid and late nineteenth century delivered Stanzaan plenitude of verse for kids, including that of Lear, which corresponded with the changing perspectives on youth. Despite the fact that the underlying foundations of babble refrain are sooner than the nineteenth century, this is the period the most celebrated and striking cases show up. Lear’s limericks and drivel rhymes were appreciated by kids, as well as by grown-ups, who discovered them an appreciated alleviation from the prohibitive lessons of the Church and Victorian culture when all is said in done. These clever and diverting rhymes were amusing to peruse resoundingly and simple to recollect. In any case, Lear’s work isn’t simply recognized by his etymological play; it likewise included capricious and entertaining illustrations. Despite the fact that his outlines for ‘The Owl and the Pussy-Cat’ are to some degree preservationist in that the creatures are delineated sensibly and seem passive, they do offer an interpretative impact and would have significantly improved the impression of the lyric at the season of production. By differentiate, the single outline in 100 Best Poems for Children (P>