1. Watch the documentary The Force. What are your thoughts on the documentary?
2. The documentary and Chapter 19 discuss police subculture and the difficulties involved in changing that subculture. What do you believe is the most pressing issue that needs to be changed within police subculture?
3. Ask you classmates a question based on Chapter 19 and/or the documentary (and not ‘Were you aware of these issues” questions 🙂 ). Your question needs to be thought-provoking and discussion generating. Be sure to indicate your thought process behind your question.
Watch the documentary The Force. It details the reform efforts of the Oakland Police Department. It is available through Netflix (or you can buy it through Amazon, YouTube, or Google).
Effect of the Black Death on Art in Europe Disclaimer: This work has been put together by an understudy. This isn't a case of the work composed by our expert scholarly authors. You can see tests of our expert work here. Any feelings, discoveries, ends or suggestions communicated in this material are those of the writers and don't really mirror the perspectives of UK Essays. Distributed: Fri, 17 Aug 2018 How huge was the Black Death for painting in Siena, Florence and Padua in the second 50% of the fourteenth century? From 1280 until the approach of the Black Death, Florence, Siena and Padua had been developing in riches and size, however the flare-up of illness in 1348 and the years following prompted the passings of between a half and 66% of their populaces (Norman, 1995, II, 8). This 'cataclysmic fall' prompted the climax of many building ventures, eminently the development of the Duomo Nuovo in Siena (Norman, 1995, II, 135), however the centrality of the Black Death concerning painting is debated. Since the distribution of Meiss' work, Painting in Florence and Siena After the Black Death (1951), the association between the Black Death and an adjustment in workmanship amid the second 50% of the fourteenth century has been the subject of discourse among craftsmanship history specialists. Henk Van Os, for instance, contends that Meiss was not the first to distinguish this pattern, but rather that he was the first to credit it to the social and religious change which went with the Black Death (Van Os, 1981, 238). There has been much discourse with respect to whether the Black Death could be viewed as an incredible unequivocal occasion that Meiss claimed. The discussion centers around three essential regions of thought: right off the bat, regardless of whether the works that Meiss refers to are effectively dated (i.e. regardless of whether they can with conviction be put previously or after 1348); also, whether the Black Death was really a causative factor in the apparent change in style; and, thirdly, whether there was one move or a few in the masterful course of the fourteenth century. In perspective of these question, we should be careful with adopting excessively shortsighted a strategy. For a case of the primary component of this discussion, we can look to the Triumph of Death in the Camposanto at Pisa and Barna da Sierra's frescoes in the Collegiata of San Gimignano, both refered to by Meiss as being run of the mill of aesthetic creation after the Black Death. Resulting grant has given occasion to feel qualms about Meiss' hypothesis on the grounds that the previous work is currently accepted to have been delivered during the 1330s (Smart, 1978) and the last is presently dated before 1348 (Van Os, 1981, 240). We should likewise consider that "a portion of the characteristics most normal for late Trecento painting are as of now present, as Meiss himself was the first to perceive, in the frescoes by Taddeo Gaddi in the Baroncelli Chapel" (Smart, 1978, 108). As this house of prayer was painted amid the years 1328-34, it exhibits an early change in style which likewise undermines Meiss' proposal.>GET ANSWER