Analysis Of Billy Budd 's ' The ' Of Something '

In this article, “Just Do What the pilot Tells You” Theodore Dalrymple and “The Genocidal Killer in the Mirror” by Crispin Sartwell express two different viewpoints expressed towards obedience. While both authors are addressing the issue of disobedience, Dalrymple approaches the issue, stating, “Some people think a determined opposition to authority is principled and romantic” (Dalrymple 3) while on the other hand, Sartwell emphasizes that authority, especially hierarchies are the most “evil” thing in our society. Despite the well-executed argument of the two author's, Dalrymple takes a self-centered approach, forcing the reader to agree with his opinion.

The notion of obedience is imperative to the notion of law, and the subject of legal obedience is accepted by virtue of its necessity in the definition of law. The discussion of moral obligation to obey the law, however, raises difficult questions met by various arguments. As a leader of this discussion, Rawls proposes that moral obligation to obey the law is upheld if the system of law is grounded in the principle of fair play.

2. It manifests society’s refusal to convict lawbreakers by relying on official lawlessness—a clear demonstration of our commitment to the rule of law that states that no person, not even a law enforcement official, is above the law.

War has been the subject of many literary works, its use and morals often being judged harshly. However, Catch-22 by Joseph Heller heads towards a different direction, as the author tries to expose the problems of military bureaucracy. Throughout the book, the military administration is portrayed as inefficient and even corrupt, but these characteristics are most prominently expressed during Clevinger’s interrogation. Joseph Heller uses dialogue in order to satirize and bring attention to the issues plaguing the military bureaucracy.

In the short story, Sonny’s Blues, by James Baldwin, there are two brother that live in Harlem during the Harlem Renaissance. The older brother, whose name is never mentioned, was given responsibility of Sonny by their mother before she passed away. Sonny is the younger of the two and wants to be a jazz pianist, but his older brother does not understand this, while he is an algebra school teacher. Sonny and his brother stop communicating. Later, the older brother is going to his job when he sees in the newspaper that his younger brother, Sonny, had been arrested for selling and possessing cocaine, or as it is called in the story, horse. Sonny’s brother never writes Sonny in jail until his daughter, Grace, died of polio. After Sonny gets out of jail, they begin to get close and his brother starts to appreciate Sonny’s love for jazz.

From the creation of harmonies to singing to instruments, music has been an abstract form of human expression. Although an auditory collection of pitches and volumes, musicians can manipulate the same notes and bring them alive for their audiences. The true emotion and energy that’s felt in music really comes from the player as feelings are transferred to and through the listener. This interaction between performer and the house is catharsis, the complete release of strong repressed emotions. Thanks to the musician, music has the ability to grasp people and cause them to sense emotions and feelings without lyrics or images even being necessary. Although it’s believed we can only hear with our ears, something about music makes it emotionally if not physically tangible. In James Baldwin’s short story “Sonny’s Blues,” a narrator certainly unaware of the impact of music invites himself to experience jazz for the first time. Baldwin uses the final scene of his story to argue that music has an effect on those who are able to experience it. Baldwin does this in one single moment by letting the fixed, practical minded, “well-intentioned” narrator experience catharsis from jazz as his growing, free-spirited brother communicates with him through jazz.

We try to press against the boundaries of what we are allowed, walk a step past the edge. Our records will be scrutinized by Congress one day and decisions on whether to enlarge our jurisdiction will be made. Some day. We want the right to prosecute criminals of all races on all lands within our original boundaries. Which is why I try to run a tight courtroom, Joe. What I am doing now is for the future, though it may seem small, or trivial, or boring, to you” (Erdrich 229-230).

Fall Commentary Assignment-LAWS 1000BProfessor: Stephen Tasson – TA: Noel Gondek Due Date: October 26, 2012

As is hopefully apparent by now, the common element of piracy trials throughout the era was the uniform desire to convict harshly regardless of circumstance. All of the ingredients existed for rampant cases of wrongful convictions on par with Kidd and Green, but with the exception of the six fisherman hanged for sharing a drink with John Rackam, they didn’t occur in the vice-Admiralty courts after the Quelch hearings. How is it that pirate hunters always captured the true sea thieves? Or another way of asking the question, where did all the privateers go? Analyzing the answers to these inquiries is crucial to understanding how the evolution of piracy reduced the ambiguity that plagued seventeenth-century piracy trials and eliminated the uncertainty that existed between legal privateers from

In the story “Sonny’s Blues”, written by James Baldwin, the narrator and his younger brother, Sonny, interact with musical elements that serve as a redemption for Sonny. Baldwin believes in the power of music to rescue or minimize the suffering that people go through. Both characters isolate themselves with several instances of music and issue their reactions toward it. Sonny is an uprising musician that wants to portray his life by playing the piano. This story is about Sonny’s Blues. His sadness about his escape from his childhood, his frustration with being a musician, as well as the lack of support from his brother, when he knew that Sonny was hurting the most, are expressed through the wooden black and white keys. At first, Sonny uses

Yet, I think one of the most important things Perry talks about in her conclusion is the theory that attention to the normative reasons why law might be weak, however, can lead to understanding that there is not a clear relationship between norms and law. I think this can be seen in the film as well, as it is clear that laws are broken many times, such as the torture of Mark Whalberg’s character and the preventing of civilians from leaving the combat zone. The question then becomes how can these laws be enforced if the ones who are supposed to enforce the laws are breaking them? Such as George Clooney’s character, who is the leader and highest ranking official in this

Amongst the social issues addressed in the novel, the insufficiency of the law in the United States drew my attention. Discussions of prohibition and laws

In the article “The Common Law Origins of the Infield Fly Rule,” William S. Stevens distinguished the similarity between the Anglo-American Common Law and the Infield Fly Rule. In this article, Stevens gradually creates an analogy between these two aspects. He points out how similar the two really are when it came down to the values they both share. From a broader viewpoint, these two may be significantly different, one residing in baseball and the other in the judicial system. However, the Common Law and the Infield fly rule share very significant elements, that being said, they both involved the process of gradual change and legislative adjustments.

These fluctuations in criminal justice policies are not just in local governing bodies; these changes are an effort to adapt to a new technologically based modern age, and that goal of adaptation radiates to all ends of the earth, thereby having a global reach. As all societies, and populations of people alter and change, and belief systems ebb and flow, the rules and laws that govern such people must change with them. It is imperative that a governing system stay current, for without an ever-changing system of behavioral structure then those societies race faster toward

Herman Melville’s novels, with good reason, can be called masculine. Moby-Dick may, also with good reason, be called a man’s book and that Melville’s seafaring episode suggests a patriarchal, anti-feminine approach that adheres to the nineteenth century separation of genders. Value for masculinity in the nineteenth century America may have come from certain expected roles males were expected to fit in; I argue that its value comes from examining it not alone, but in relation to and in concomitance with femininity. As Richard H. Brodhead put it, Moby-Dick is “so outrageously masculine that we scarcely allow ourselves to do justice to the full scope of masculinism” (Brodhead 9). I concur with Brodhead in that remark, and that Melville’s