Prior to 9/11 intelligence and law enforcement were thought of as separate areas that did not necessarily overlap. Law enforcement is focused on bringing a criminal to justice while intelligence is focused on national security and potential military action.
After 9/1 we changed the way we defined terrorism and now we consider it both a threat to national security and criminal.
Prepare a research paper that analyses the intersection and divergence of the intelligence and law enforcement communities. In your paper you will:
• Identify the agencies and types of organizations involved in law enforcement and in intelligence.
• Identify the regulations that control law enforcement and those that control the intelligence community with respect to obtaining information and evidence, classic and electronic surveillance, questioning and capture. Compare and contrast. Consider the effects and reasons for these.
• Review the history of cooperation between the two fields. Discuss changes, progress, and remaining hurdles.
Present facts, research, and expert opinion to support your position. Your paper should be approximately 2,400 words, use at least 5 academic sources, and be formatted and cited in APA style. Please cite sources materials submitted and follow paper Details as noted,
Hitting the nail on the head: An investigation of Timing and Language in Hamlet and Sure Thing This paper investigates how dialect is utilized to uncover the covered up internal contemplations and sentiments of characters, and how timing can have a urgent influence in the depiction of emotional characters to the group of onlookers. The places of business how, in Shakespeare's Hamlet, dialect depicts the steady working through of Hamlet's contemplations, towards his definitive aspiration of requital, and conversely, how dialect is urgent in setting up the underlying and basic association among Bill and Betty in David Ives' one-Act play, Sure Thing. Beyond any doubt Thing presents a grouping of discoursed between a youthful couple becoming more acquainted with each other in a café. The ringing of a chime interferes with their progressive endeavors at a similar discussion. Connoting 'time out' when one says something unsuccessful, when, in customary conditions, their discussion may have finished: BILL. This is my first night out alone in quite a while. I feel a smidgen adrift, to reveal to you reality. BETTY. So you didn't stop to talk since you're a Moonie, or on the grounds that you have some bizarre political association - ? BILL. Not a chance. Straight-down-the-ticket Republican. (Chime). Straight-down-the-ticket Democrat. (Chime.) Can I disclose to you something about governmental issues? (Chime.) I get a kick out of the chance to consider myself a national of the universe. (Ringer.) I'm unaffiliated. BETTY. That is a consolation. So am I. (Ives, 1994, p.20). In this play, in contrast to the turbulent advancement of Hamlet, boundaries are no great – it is the center ground that the two characters try to possess, where sheltered and dependable answers will anchor their trust in each other as a potential accomplice. Ives' utilization of dialect is clever and specific quickly addressing points that give the group of onlookers a thought of the identity and tastes of the characters, while hacking up the pace to keep their consideration. Conversely, Hamlet tries to investigate the furthest points of human character and the limits among mental soundness and madness, and profound quality and unethical behavior. For instance, when Hamlet's reality is all of a sudden turned upon its head after the homicide of his dad, Shakespeare utilizes allegory to express the dismal and agitated emotions which Hamlet encounters: I have recently (yet whereof I know not) lost all my jollity, sworn off all custom of activities; and, in reality, it runs so intensely with my demeanor this goodly edge, the earth, appears to me a sterile projection; this most astounding covering, the air, look you, this daring overhanging atmosphere, this majestical rooftop fussed with brilliant fire, why, it appeareth no other thing to me than a foul and pestilent assemblage of vapors! (Village, II. I. Found in Geddes and Grossett, 2006, P.386). Village's vision of the world is contrasted with a structure – the 'outline' of the earth, and the 'overhang' of the sky. The representation is reached out into the accompanying lines, where the marvels of the common world are attributed with human qualities, for example, 'daring' and 'majestical.' Shakespeare's utilization of scene as illustration is pivotal here as it accentuates the flipping around of Hamlet's reality – the possibility that all that he knew and trusted to remain – has all of a sudden changed into the most noticeably awful, most extraordinary, situation possible. For Shakespeare, it is the progressive unfurling of Hamlet's character, which drives the play forward and makes the group of onlookers question social and individual qualities. As commentator W. Thomas MacCary remarks on Hamlet, the improvement of the plot is dictated by the advancement of Hamlet's character. Besides, Hamlet as a character must 'uncover what is covered up, [… .] so the plot of Hamlet is a steady disclosure of what is spoiled in the territory of Denmark.' (MacCary, 1998, p.65): The time is out of joint: O reviled show disdain toward, That ever I was destined to set it right! (Villa, I.v. 188-19. Found in Geddes and Grosset, 2006, p.384). Village's scandalous deferral is vital for him, and the gathering of people, to have sufficient energy to acclimatize and make an educated judgment on the occasions that have gone, before continuing to the following period of sensational power. Shakespeare utilizes speeches to depict to the gathering of people what is close to home to Hamlet. This system serves not exclusively to separate the character, subsequently concentrating consideration on him, yet in addition supports examinations and reflection with respect to the gathering of people to their own lives, and the nation of Denmark. Conversely, the force of Ives' exchange among Bill and Betty presents a short, sudden understanding into the ponderousness and insouciance of a contemporary youthful couple, meeting out of the blue, while giving a clever and intriguing social analysis. As this is a play with few props, the consideration is centered around the couple; in fact, Bill's craving to pick up Betty's consideration and secure her organization is anticipated onto the server, whose fast approaching landing in the finish of the discourse implies the end of the scene. The way that the server never arrives – and subsequently neglects to interfere with the course of their discussion – secludes the clumsiness and potential incongruity of contemporary social norms: discussion is frequently shocked, lost, and wrongly planned: BILL. (Glances around.) Well the servers here beyond any doubt appear to be in some extraordinary time zone. I can't find one anyplace… .Waiter! (He thinks back.) So what do you – (He sees that she's returned to her book.) BETTY. I ask exculpate? BILL. Nothing. Too bad. (Chime.) (Ives, 1994, p.17). This motivates the group of onlookers to consider the possibility that albeit two genuinely comparable individuals are talking in an open gathering place, with nothing to intrude on them, despite everything they can't take care of business. The characters make references to 'various timetables,' 'missed associations,' and the term 'distinctive time zone' is first specified by Bill, and afterward rehashed by Betty. This is suggestive of Ives' expectation to present to the crowd the possibility that in the 21st century, in spite of the nearness of refined methods for correspondence, the basic demonstration of making oneself known to another remaining parts tricky. To finish up, this paper has demonstrated that planning is essential in both the plays, not just in the depiction of the character to the group of onlookers, yet in addition in the progression of each play all in all. Specific and clever utilization of dialect in both plays reminds the gathering of people that they are watching an envisioned situation as well as a clashing spoof of the general public of which they themselves are a section. List of sources Geddes and Grosset, 2006, The Complete Works of William Shakespeare. New Lanark: Geddes and Grosset Ives, D.1994, All in the Timing: Six One-Act comedies. Playwrights Play Service: New York Joseph, B., 1953, Conscience and the King: An investigation of Hamlet. London: Chatto and Windus MacCary, W.T., 1998, Hamlet: A Guide to the Play. Westport, CT: Greenwood Press>GET ANSWER