Lord Of The Flies - Setting Essay -- essays research papers

In the novel Lord of the Flies, by William Golding the setting had a very strong influence in the actions and attitudes of the characters. Setting is the defined in literature as where the story takes place. In Lord of the Flies, the setting is on a deserted tropical island in the middle of the ocean, where a microcosm is able to be established. Three specific examples of how setting influenced the actions and attitudes of the characters are: The isolation from a civilized world, the mysteries of an unfamiliar place, and different social types being forced to live with one another. How these examples are to be proven will be developed in the following paragraphs. Being on an island in the middle of the ocean, cut off the life line, of a highly civilized society, that took hundreds of years to develop. Due to the age and experience of the boys, such ideals of what it takes to be civilized are not developed to that of an adult’s. When the boys are put in a world without rules, punishment, and order, it leads to a very progressive deterioration of what they have learnt to be "civilized". Without boundaries from authority figures, the boys feel as if they can do what ever they want, or as how they put it "to have fun". In the beginning things where fine. An organized society had been formed where Ralph was elected chief, and others where assigned specific duties. However as time goes by, things start to deteriorate, the boys are sick of doing their dut...

Faith Evans :: essays research papers

In spite of the fact that Faith Evans carved out a recording career in her own right, her name will forever remain linked in the minds of many to her late husband the Notorious B.I.G. Evans was an active session singer and songwriter before signing her own solo deal and marrying Biggie, and while she never matched the level of his stardom, she continued to come into her own as a vocalist in the years after his untimely death. Faith Evans was born on June 10, 1973, and grew up in Newark, NJ, where she began singing in church at the mere age of two. A high school honor student, she sang in her school's musical productions before winning a full scholarship to Fordham University. After just one year, though, she left college to put her jazz and classical training to use in the field of contemporary RB. It didn't take her long to find work and over the next few years, she sang backup and wrote songs for artists like Hi-Five, Mary J. Blige, Pebbles, Al B. Sure, Usher, Tony Thompson, and Christopher Williams. Thanks to her work on Blige's 1994 sophomore effort, My Life, Evans met producer/impresario Sean "Puffy" Combs, who signed her to his Bad Boy label. In 1995, Evans released her debut album, Faith, which went platinum on the strength of the hit RB singles "You Used to Love Me" and "Soon as I Get Home." The same year, she met fellow Bad Boy artist the Notorious B.I.G. (some accou nts say at a photo shoot, others a phone conversation) and married him after a courtship of just nine days; shortly thereafter, she guested on a remix of his smash single "One More Chance." Over the next couple of years, Evans continued her behind-the-scenes work, performing and writing for records by the likes of Color Me Badd and LSG. She and Biggie also had a son, Christopher Wallace Jr., in late 1996; however, by that point, their marriage had already become strained. Biggie had publicly taken up with rapper Lil' Kim and rumors had been spreading about an Evans liaison with Biggie's rival 2Pac (alluded to on 2Pac's venomous "Hit Me Off"). The couple had unofficially separated when Biggie was shot and killed in March 1997. A grief-stricken Evans was prominently featured on the Puff Daddy tribute single "I'll Be Missing You," which with its cribbed Police hook zoomed to the top of the charts and became one of the year's biggest hits.

Can Detroit Make the Cars Customers Want? Essay

Ans: AutoNation is having a problem with inventory because of the culture of ordering a customized vehicle for a customer, but such an order usually adds six to eight weeks to the transaction. The customer who wants to buy on the spot must choose from cars on the lot that the manufacturer has already configured, priced, and shipped. Despite manufacturer incentives and rebates to entice customers to purchase, dealers often have a glut of new cars sitting in their lots for months at a time that no one wants to buy it. The swollen inventory and slow turnaround hurt dealers because they must borrow money to pay for the cars the manufacturers ship. This has also become a problem for auto manufacturers such as GM, Ford and Chrysler due to their manufacturing processes which are not set up to quickly change production models and have been geared toward optimizing the efficiency of the production plant. Again because of the frequent change in consumer tastes which can shift almost overnight as gasoline prices rise or fall, or as one automotive fashion fad gives way to another. This problem is impacting the business performance of AutoNation and of the auto manufacturers because of following reasons. 1. It has become imperative for the manufacturers to keep their plants running regardless of demand to pay for the rising costs of employee healthcare and pensions. What’s more, auto workers must be paid most of their salaries regardless of whether they are working, so manufacturers want them working all the time. 2. Losing market share to the Japanese and Koreans 3. Auto manufacturers are scrambling to revamp their product line up 4. The enlarged inventory and slow turnaround hurt dealers because they must borrow money to pay for the cars the manufacturers ship. 2. What pieces of data do AutoNation need to determine what cars to stock in each of its dealerships? How can it obtain these data? Ans: The following pieces of data AutoNation need to determine†¦ Preferences of car buyers Most popular configurations They put forth a major effort to consolidate the customer lists from its hundreds of dealerships. They uses proprietary analytic software as well as assistance from DME, a marketing firm with expertise in creating customized direct mail campaigns. 3. What is AutoNation’s solution to its problem? What obstacles must AutoNation overcome to implement its solution? Ans: They categorized their customers into groups with the help of DME and propriety analytical software and follow unique strategies for each category. They create sales pitches, service specials etc. for each group. In the past they tried to search for customers who want to buy the cars that they produced but now they are producing what customers looking for. And also AutoNation is trying to apply these principles of market intelligence to auto manufacturing. They use data mining techniques to determine the demand for each model and very accurate configurations of each model among thousands of possible variations that are most popular with buyers. With this they can focus on producing these vehicles in the numbers that the data dictate. Therefore they don’t have to keep unnecessary inventory. To auto manufacturing, the auto nation must overcome this problem such as the rising of gasoline price and the demand to the pay for the rising of cost employee healthcare and pensions. It will be effective enough to bring production in line with the customers demand. It can lower the rising cost of gasoline and makes the company revenue up to 90% total earn for selling branded cars. And also it will help them to compete with Japan and Korean car producers. They can determine the demand for each model and very accurate configurations of each model among thousands of possible variations that are most popular with buyers. MIS In Action Explore autonation.com, examining all of its features and capabilities. Then answer the following questions. 1. How does this Web site help AutoNation forge closer ties with customers and potential customers? Ans: The AutoNation web site offers vast experience in new and used car sales and service. They have a large selection of cars, trucks and SUVs on the web. That means that customers can easily find the vehicle that they want. It doesn’t only help the customers to find the right price. Using their web site, customers can explore car pricing options with a quick quote or by payment, then research reviews and compare new and used cars that fit their budget and needs, check available auto financing and leasing plans, and search AutoNation’s huge auto inventory to locate the car, truck or sports utility vehicle that customers like. Their dealers carry popular brands including Acura, Audi, Bentley, BMW, Buick, Cadillac, Chevy, Chrysler, Dodge, Ford, GMC, Honda, Hyundai, Infiniti, Isuzu, Jaguar, Jeep, Land Rover, Lexus, Lincoln, Mazda, Mercedes-Benz, Mercury, MINI, Mitsubishi, Nissan, Pontiac, Porsche, Saturn, Scion, Subaru, Toyota, Volkswagen and Volvo. Therefore customers have a vast collection to pick their choices. AutoNation’s dedicated sales force is available by email or telephone if customer has questions, need information or wish to complete their transaction online. Or, if customers prefer to visit one of AutoNation’s local auto dealerships, he/she can search for the closest dealership through this site. That is how they have ties with customers and potential customers. 2. What information could AutoNation collect from its Web site that would help it determine in which makes and models of cars are of most interest to potential buyers? Ans: †¢ What type of cars customers looking for (used/brand new) †¢ What is the brand that customers looking for †¢ Which model †¢ When the vehicle is designed †¢ If it is a used vehicle then mileage †¢ In what period of the year people buy more vehicles †¢ Usually how much a person spend on a vehicle †¢ What is the customer total income †¢ What type of customers buy which brand

‘Araby’ by James Joyce Essay

What impression of Dublin and its people does James Joyce give in his story ‘Araby’? James Augustine Alrysius Joyce, an Irish writer, was born in Dublin 2nd February 1882 and died in Zurich, Switzerland 13th January 1941. He was born into a well-off Catholic family and was the eldest surviving child; two of his siblings died of typhoid. Joyce was originally educated at Clongowes Wood College, a boarding school in County Kildare, which he left at the age of 6 because his father could no longer pay the fees. James Joyce studied at home for a brief period of time before being offered a place in the Jesuits’ Dublin School. At the age of 16 he rejected Catholicism which changed his life completely. At the age of 20, after graduating from the UDC (University College Dublin) he left for Paris and tried studying different occupations like teaching, journalism and even a doctor. At the age of 21 he returned to Ireland after receiving news that his mother was diagnosed with cancer. After she had died James Joyce became a heavy drinker but gradually stopped as he got over her death. He then stayed in Dublin for a period of time from 1904-1907 writing the â€Å"Dubliners† and also started many other books. The book â€Å"Dubliners† is a collection of short stories and â€Å"Araby†, like all of them, have â€Å"paralysis† meaning that they can’t leave Dublin. For example in the short story â€Å"Clay† Maria has the chance to make a new life and leave Dublin but turns it down because she is too scared. This also occurs in â€Å"A Painful Case† and â€Å"Eveline†, as they don’t have to courage to leave Dublin. In the short story â€Å"The Boarding House†, Bob Doran wishes to leave Dublin but can’t because he is trapped inside marriage. Most of the short stories, unlike â€Å"Araby†, go in circles, for instance, â€Å"Two Gallants† when Lenehan just wanders around Dublin. This also occurs in â€Å"The Dead† because a horse just goes around and around in circles, and also in â€Å"An Encounter† when a pervert tries to stop but end back in the same perverted world. At the end of the short stories James Joyce always write an epiphany, which is a revelation, but in all but one story the revelation is only noticed by the reader but in â€Å"Araby† both the reader and the protagonist – the protagonist is the main character – have an epiphany – an epiphany is a moment of revelation, usually at the end of the story. In the streets of Dublin James Joyce writes them as being â€Å"blind†, meaning that it’s a dead end and there is nothingness, it also means that you can’t escape and there is nowhere to go (there is no way of getting out of Dublin). The main reason is that there is no vision, meaning that you can’t see how terrible and run down Ireland really is. He describes all things by the colours â€Å"brown† and â€Å"yellow† that symbolises human excrements. He writes â€Å"the lamps of the street lifted their feeble lanterns†, the word â€Å"feeble† shows that the light is not even strong enough to even penetrate the darkness. â€Å"Jostled by drunken men and bargaining women†, the word bargaining in this case can mean two things. The first meaning of it is that they are just selling items and changing the prices of them, and the second meaning is that the women are bargaining for their bodies, they are prostitutes. There are â⠂¬Å"street singers† who sing about the problems in Ireland. Also that weather is always extremely violent, and this is shown by the words â€Å"cold air stung us†, â€Å"rain impinge upon the earth† and â€Å"the air was pitilessly raw†. Religion in Dublin is exceedingly poor. In the second paragraph it says â€Å"a priest, had died† showing that the faith in Dublin has disappeared off the face of the earth. Inside the house of the dead priest there were books that were â€Å"curled and damp† meaning that the interest in them was lost. The books were â€Å"The Abbot† which is a religious story, â€Å"The Devout Communicant† which is a book on how to receive Holy Communion well and the last one â€Å"The Memoirs of Vidocq† which is about a thief. The books are muddled up indicating that religion in Ireland is a sham. When it talks about the priest again it first says â€Å"very charitable priest† making you think that the priest was a good man, and suddenly says â€Å"in his will he had left all his money to institutions and the furniture of his house to his sister† presenting the complete opposite. This means that the priest was only charitable went he knew he was dieing and he wasn’t a nice man. In the dead priest’s â€Å"wild garden† there is an apple tree in the centre signifying the Garden of Eden which is a source of evil. In a bush in the garden, there is a â€Å"rusty bicycle-pump†, this can denote three things. The first description of the bicycle-pump is that there is no escape because, if you can’t pump up your tires, then you can’t go anywhere. The second explanation represents the snake, or Satan, in the Garden of Eden because the pump is approximately the same size a snake. The last reason, symbolizes a heart, meaning that, because the heart is not pumping, there is no love or life in Dublin, symbolizing that everything is hopeless. A good part in the story when you know that religion is just a phoney in Dublin is when the boy’s Aunt says â€Å"I’m afraid you may have to put off your bazaar for this night of Our Lord† actually saying that he should just forget about it in a nasty way. Although she I using religious word she is using them without kindness, meaning that she is not caring about him. The family life in Dublin isn’t very pleasant either. In the beginning of the book, the boy says â€Å"if my Uncle was seen turning the corner, we hid in the shadow† indicating that he doesn’t live with his parents, and also that he’s scared of him. On the night of the bazaar his Uncle came home late, â€Å"I heard him talking to himself† meaning he was obviously drunk and had forgotten all about Araby. The love in Dublin is bland. For the boy he loves and stalks â€Å"Mangan’s sister†. She is called thins because he doesn’t actually know her name so he names her â€Å"Mangan’s sister†. He defines her as â€Å"light† because he thinks of Dublin as the dark and Mangan’s sister as a light to brighten up Dublin. When he looks at her â€Å"her dress swung as she moved her body, and the soft rope of her hair tossed from side to side†, she is describes as lively and everyone else is not. â€Å"Followed her†, or stalking her is the meaning, â€Å"I kept her ‘brown’ figure always in my eye†, â€Å"brown† indicating that she is actually just an ordinary person with nothing special about her. Within one paragraph there are five words â€Å"chalice†, â€Å"prayers†, â€Å"praises†, â€Å"tears† and â€Å"adoration†, he describes her with religious word, and because he left Catholicism she is now his secular religion (one without God). She is also like music to his ears because it says â€Å"my body was like a harp and her words and gestures were like fingers running upon the wires†. Also showing that he uses her in a secular religion is a sentence saying â€Å"I pressed the palms of my hands together until they trembled, murmuring: ‘O love! O love! many times† showing that he worships her a lot. â€Å"At last she spoke to me†, this is the moment he was waiting for the whole time. She then talks about â€Å"Araby† and says she can’t go. While she was talking to him â€Å"she turned a sliver bracelet†, silver indicating bright. In two sentences he uses six words to describe how radiant and bright she is and how drawn he is to her, they are â€Å"light†, â€Å"lamp†, â€Å"white†, â€Å"lit†, â€Å"lit† and â€Å"†white†, repeating â€Å"white† and â€Å"lit†. â€Å"Waking and sleep thoughts† and â€Å"chafed against the work of school† imply that he can’t do anything besides thinking about Araby and Mangan’s sister, and it also says â€Å"I strove to read† hinting the same thing. â€Å"Lie at the window† signals that he stalks and spies on Mangan’s sister, and he is â€Å"singing† because he is happy about getting Mangan’s sister a present. Lastly he has a sexual desire for Mangan’s sister because it says â€Å"border below the dress† suggesting that he is growing quite fast and is into the puberty stage of life. â€Å"Araby† is a fair or, a â€Å"bazaar† – which is a foreign word from the east. In the boy’s eyes, â€Å"Araby† is an exotic place that gets away from all the darkness of Dublin. Also Araby is close to the word Arabia which is in the east signifying that it’s exotic, rich. And because it is in the east it signifies that the sunrise comes from the east, representing a new day, a new hope, a new light. Also Jesus resurrected in the east, epitomizing a new beginning or day. When he eventually arrives to Araby, he goes around the stalls and finds that most of them are closed. There is one that is open but when he sees the people at the stall he discovers they all speak in English accents indicating that the bazaar is not exotic at all. A â€Å"young lady†, who is probably a prostitute, because she is seen flirting with two men at the same time, asks the boy if he wants to buy anything but he says â€Å"no, thank you†. And from this, all of his dreams end because, the items are too expensive and mundane. At the end of the story there is an epiphany, which is the moment of revelation, to both the reader and the protagonist, because usually the epiphany is only recognisable to the reader. On the second from last paragraph at the end it says â€Å"complete darkness† signifying that all hope is gone. The whole of the last paragraph says â€Å"gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger†, this is the exact moment when he realises that all Dublin was in vain and all he did was in vain. He figures out from this that there actually is no love, no romance and no chivalry.

Identifying Carbohydrates Lab Report

(insert name here) (insert period #) Identifying Carbohydrates (First inital and last name of lab partner) Purpose The purpose of this lab is to learn how to identify different forms of carbohydrates by conducting the Benedict and Iodine test. Theory The theory for this concept is that if in the benedicts test the carbohydrate reacts, it is a monosaccharide. If it reacts in the Iodine test it is a polysaccharide. If no reaction occurs in either test the carbohydrate is a disaccharide. Data Type of carbohydrate| Benedicts Test| Iodine Test|Monosaccharide| R| NR| Disaccharide| NR| NR| Polysaccharide| NR| R| Solution| Bendicts Test| Iodine Test| Honey| R| NR| Oats| NR| R| Table Sugar| NR| NR| Apple Juice| R| NR| Powdered Sugar| NR| NR| Results Solution| Type of carbohydrate| Honey| Monosaccharide| Oats| Polysaccharide| Table Sugar| Disaccharide| Apple juice| Monosaccharide| Powdered Sugar| Disaccharide| Conclusion I found that honey reacted with the Benedicts test, so it must be a monos accharide. Oats did not react with the Benedicts test, but did react ith the Iodine test; so it is a polysaccharide. Both the table sugar and the powdered sugar reacted with neither tests, so they are both disaccharides. Lastly, the apple juice reacted with the Benedicts test so it is a monosaccharide. Questions 1) It could be a Polysaccharide or a Disaccharide. 2) It could be a Disaccharide or a Monosaccharide. 3) This would be a monosaccharide. 4) This would be a Disaccharide. 5) They originally came from producers. 6) The chemical formula is Cx(H2Oy) 7) 8)C12 H22 O11

Manuel Barkan and his contribution to art education

Contemporary generation of young art educators are being introduced to significant figures in the history of art education in their programs of study. In today’s fast-paced environment, it is natural that some of these figures are accepted without question and some are left languishing in history only to be revisited by those interested in revising that history. Manuel Barkan could be considered such a figure. An individual who emerges as a pivotal force in the development of ideas now infused in contemporary art education is Manuel Barkan who in 1965 advocated a then new approach to the curricular content of art education: the use of the roles of the art historian, the art critic, and the aesthetician as well as that of the studio artist. Today these ideas seem so commonplace that it’s difficult to imagine just how radical they were when they were first introduced. The purpose of this paper is to examine Barkan’s work and its effect on contemporary art education in order to understand current practice and philosophy of art education. About half a century ago, Barkan (1962) addressed the importance of historical reflection in an article published in Art Education titled â€Å"Transition in Art Education: Perceptions of Curriculum Content and Teaching† and asserted that he believed the next decade would â€Å"bring some truly fundamental changes in the theory and practice of art education† (Barkan, 1962, p. 12). He went on to say that â€Å"when basic ideas are in the process of transformation, there is and must be an inevitable grinding of opinions one upon the other. There must be inevitable controversy and debate, because old ideas by their very nature, cannot and do not change unless and until they are challenged by new ones† (p. 12). The transformation of which he spoke was the shift from the child-centered approach of the progressive movement to the disciplined-centered approach advocated for general education. Another essential Barkan’s point concerned the kind of behavior a person must learn in order to achieve understanding from the subject being studied. He stated that to learn through art, â€Å"one must act like an artist† (p. 14). Barkan (1962) also spoke of the need to treat children as artists and explained the characteristics of the artist as â€Å"immersion in a medium,† and â€Å"determination †¦ to achieve the discipline and the skills involved† (p. 18). He cautioned against organizing curriculum simply to give students experiences in a wide range of media, an approach he considered â€Å"detrimental to the purposes which art education ought to be trying to achieve† (p. 17). Instead, he thought students should engage is some exploration of media so that they could discover a medium they liked and be able to â€Å"use it to express their ideas† (p. 18). The art room should, in Barkan’s words in the 1962 article, re-create the â€Å"atmosphere of an artist’s studio† (p. 18). In 1965 Barkan proposed a research and development center for aesthetic education to the U.S. Office of Education; the plan called for a consortium of five universities each with research and curriculum development labs (Hubbard, 1971). According to Chapman (1993), the plan was not funded due to the federal government’s position that all of the arts must be included, making the initial plan too complex. Barkan continued to refine the idea. Barkan turned to television as a tool for disseminating resources and curriculum concepts for the teaching of art. By that time, he had begun to work with Laura Chapman, and together they developed Guidelines for Art Instruction through Television for the Elementary Schools for what became National Instructional Television. In 1970, he and Chapman published Guidelines for Curriculum Development in Aesthetic Education as a guide for educators working to develop curriculum materials in music, dance, theater, literature, and the visual arts. Elliot Eisner, writing in a 1971 issue of Studies in Art Education that focused on Barkan’s work, stated that â€Å"throughout his career in art education, Manuel Barkan concerned himself with both the development of more adequate theory and the improvement of the art of teaching art† (p. 4). In fact, Barkan believed that art education could promote a more sensitive understanding of social problems. His first book, A Foundation for Art Education, published in 1955, presented a synthesis of then â€Å"current concepts from psychology, sociology, anthropology, cultural history, philosophy and the arts† (Barkan, 1955, p. vi). According to Chapman (1971), Barkan was concerned with the growing number of sometimes questionable classroom activities that were being justified as forms of creative self-expression. He sought to better define the term in relation to â€Å"concepts about human behavior growing out of research in other fields† (Barkan, 1955, p. vii) and to develop â€Å"a foundation for art education that would rest on a synthesis of this information in the context of operational problems in teaching† (Chapman, p. 40). Barkan’s book was an effort to develop a strong philosophical foundation for art education built upon research in other disciplines. Today, the idea that the curricular content of art education should encompass artmaking, art history, art criticism, and aesthetics is generally widely accepted. Art teachers address these components of art education in a manner that takes into account the nature of the child and the importance of both making and responding to art. Art has become a subject for study, but it retains its ability to teach us about ourselves and the others with whom we share this world. That art education is still engaged in transition is without doubt, and, is in fact, desirable. Postmodern thought, feminist perspectives, and multicultural concerns are but a few of the contemporary issues that influence today’s emerging art educators. However, an understanding of the history of our field and the work of key individuals such as Manuel Barkan can provide insight and guidance as we continue the ongoing â€Å"transition in art education† that he addressed in 1962. Works Cited List Barkan, M. â€Å"A transition in art education.† Art Education, 15.7 (1962): 12-27 Barkan, M. A Foundation for Art Education. New York: The Roland Press, 1955. Chapman, L. H. â€Å"A second look at A Foundation for Art Education.† Studies in Art Education, 13.1 (1971): 40-49. Chapman, L. H. Reflections on the theory and practice of curriculum development in art. Paper presented at the National Art Education Association Convention Super-Session III, Chicago, IL, 1993. Eisner, E. â€Å"Media, expression, and the arts.† Studies in Art Education, 13.1 (1971): 4-12. Hubbard, G. â€Å"The professional leadership of Manuel Barkan.† Studies in Art Education, 13.1 (1971): 70-72.   

Modernity In Criminology Essay Example | Topics and Well Written Essays - 1000 words

Modernity In Criminology - Essay Example These substantive and procedural reforms have converted the historical ideal of the juvenile court as a welfare agency into a quasi-penal system that provides young offenders with neither therapy nor justice. The positivists who created the juvenile court conceived of it as an informal welfare system in which judges made dispositions in the "best interests" of the child. In 1967 the Supreme Court in In re Gault granted juveniles some constitutional procedural rights in delinquency hearings and provided the impetus to modify juvenile courts' procedures, jurisdiction, and purposes. (Feld, 1999, 24-25) The ensuing procedural and substantive convergence between juvenile and criminal courts eliminated virtually all the conceptual and operational differences in strategies of social control for youths and adults. Even proponents reluctantly acknowledge that juvenile courts often fail either to save children or to reduce youth crime. In short, the contemporary juvenile court constitutes a conceptually and administratively bankrupt institution with neither a rationale nor a justification. According to Paul (2002, 69-70) social structural and cultural changes fostered both the initial creation and contemporary transformation of the juvenile court. Ideological changes in cultural conceptions of children and in strategies of social control during the nineteenth century led positivists to create the juvenile court in 1899. ... s combined new theories of criminality, such as positivism, with new ideas about childhood and adolescence to construct a social welfare alternative to criminal courts. They designed juvenile courts to respond flexibly to youths' criminal and non-criminal misconduct, to assimilate and integrate poor and immigrant children, and to expand control and supervision of young people and their families. (Tanenhaus, 2004, 111-112) The juvenile court positivists removed children from the criminal justice and corrections systems, provided them with individualized treatment in a separate system, and substituted a scientific and preventive alternative to the criminal law's punitive policies. By separating children from adults and providing a rehabilitative alternative to punishment, juvenile courts also rejected criminal law's jurisprudence and its procedural safeguards, such as juries and lawyers. Juvenile courts' flexible and discretionary strategies enabled its personnel to differentiate and discriminate between their own children and "other people's children," those of the poor and immigrants. (Duffy, 2004, 39) A century later, social structural changes have modified the cultural conceptions of young people and the strategies of social control that juvenile courts employ. These changes leave the juvenile court, as an institution, searching for a new policy foundation and legal rationale. (Kittrie, 2000, 156-157) Since Gault, social structural, demographic, and legal changes have altered dramatically juvenile courts' structure and functions, the characteristics of their clientele, and the crime and social welfare issues that they confront. The social construction of adolescence as a developmental stage distinct from adulthood and new sensibilities about children began to pose