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The disproportionate figures go deeper. Of the 83 DNA-based exonerees who were arrested when they were younger than 21, 70 (84%) are people of color; 62 (75%) are black. Studies by wrongful conviction experts Sam Gross (2003) and Joshua Tepfer (2010) have noted that blacks are the majority of all youth exonerees.
Group arrests occurred in 75% of the cases involving juveniles of color. In fact, minorities account for nearly all DNA exonerations involving a youth-group arrest. According to Department of Justice data, juveniles of color are believed to offend heavily in groups, as approximately 40% of all juvenile criminal activity involves a group of juvenile offenders.
History shows, however, that the relationship between youth in many group wrongful conviction cases was virtually nonexistent. In the Dixmoor Five case, five teenagers were arrested in connection with a murder in Chicago in1989. Remarkably, the prosecutor at trial conceded that many of the youth never associated together.
In conclusion, it is not surprising that the number of minority youth exonerations far exceeds those of white youth exonerations. In communities of color, youth have been disproportionally stopped and questioned. Black juveniles, in particular, make up the majority of those convicted in adult courts. The latest data, in 2006, shows black juveniles were 58% of juveniles in adult prisons.
This poem explores the wide-eyed innocence that a child has when they first look out on the world, which eventually gives way to a more jaded cynicism involving a lowering of expectations, especially towards our fellow human beings.
Henning is Blume Professor of Law and Director of the Juvenile Law Clinic at Georgetown University Law School. She has written many law review articles advocating for juvenile law reform. Rage of Innocence: How America Criminalizes Black Youth uses compelling stories to demonstrate how the childhoods of Black youth differ from those of their white contemporaries, and the challenges they and their families face.
In Chapter 2, Henning addresses the criminalizing of Black adolescent play. Although play is a normal part of adolescent development, she argues that Black youths do not receive the same mitigation white youths receive when at play. Police and the public perceive Black youths to be older and more culpable, and white youths are seen as younger and more innocent. Her stories highlight the police responses to Black youths engaged in normal behavior: police shooting 12-year-old Tamir Rice holding a toy gun within two seconds of arrival; police violently removing a Black girl from class for using her cellphone; and police shooting Jordan Edwards while he was driving away from a party. She uses examples of differential police enforcement of juvenile curfew laws to illustrate similar disparities. She argues persuasively that these low-visibility discretionary decisions readily lend themselves to discriminatory application, either subconsciously or deliberately.
Henning begins Chapter 10 with a review of earlier cases in which states have executed innocent Black children. Although states no longer execute children, they are more likely to transfer Black children to criminal court and sentence them more harshly than white youths convicted of the same crimes. Youths incarcerated with adults experience physical violence, verbal threats, bullying, and sexual assaults in facilities ill-equipped to meet their needs, and some seek relief through suicide.
Before becoming Pope Innocent VIII, he was born Giovanni Battista Cibo. Cibo was born in Genoa and was part of an old Genoese family. His father was an established senator in Rome. Thus, Cibo spent most of his youth at the Neapolitan Court.
In concert, the transition of growing up is also demonstrated by the fact that these songs are sung in the aisle before they finally cross over onto the secondary stage, a state where they have lost their innocence.
Youth Journalism International connects student writers, artists and photographers with peers around the globe, teaches journalism, fosters cross-cultural understanding, and promotes and defends a free youth press.
\"Nothing Gold Can Stay\" emphasizes the fleeting nature of youth, beauty, and life itself. As trees lose their leaves and then the buds, leaves and blooms reappear the following spring, so people age and eventually pass from the earth. This is part of the cycle of life and death, and rebirth.
Yes. \"Nothing Gold Can Stay\" is a metaphor, in the sense that \"gold\" refers to the youth, beauty, prosperity, and new life that nature enjoys, and people enjoy, during their younger years. As trees and plants and people age, their beauty and vigor may fade over time. This is part of the circle of life.
Frost utilized symbolism, rhyme, meter, and other literary devices to express his theme. Frost highlights the truth that everything in nature changes (ages) and decays over time. He emphasizes the importance of taking time to carefully observe and appreciate the beauty of nature and the people around us, because life is short. His poem expresses the poignance and pathos of the transience (fleeting nature) of youth, beauty, prosperity and life itself.
What does \"Nothing Gold Can Stay\" mean Most readers and scholars interpret the poem to mean: \"Life is short\" or \"Nothing beautiful can last forever.\" Other interpretations might be \"Everything changes/ages/decays over time.\" \"Nothing Gold Can Stay\" highlights the inevitable loss of innocence that both nature and people experience as they grow older and more mature.
On the surface, it seems that the theme of this poem is a bleak one. Spring flowers will die, children will grow up and lose their innocence, and all people will eventually die, too. This may seem depressing, but there is a silver (or gold) lining to be found in this poem. Frost uses examples of things that are cyclical:
Since the publication of \"Nothing Gold Can Stay,\" many works of literature, music and art have referenced the poem and its themes. One of the best-known examples appears in the novel The Outsiders by S.E. Hinton. The character named Ponyboy reads the poem \"Nothing Gold Can Stay\" to his friend Johnny Cade while the two boys are hiding out in the Windrixville Church. During this idyllic time, the two boys have a short reprieve from the real world as they read, talk, and smoke, hiding from the adult world of responsibility. But they know that eventually they must face the consequences of the murder. (Earlier in the novel, when another youth named Bob Sheldon had attempted to drown Ponyboy by holding his head in a fountain, Johnny stabbed Bob and killed him in order to save his friend's life.)
Robert Frost's poem \"Nothing Gold Can Stay\" uses rich nature imagery as well as metaphor, rhyme, meter, symbolism and poetic devices to illustrate his theme that youth and beauty, and life itself, are transient. Frost points to \"Eden\" as an example of something beautiful and perfect that cannot last forever.
Robert Frost's 1923 poem 'Nothing Gold Can Stay' explores the idea that nothing good or precious can last forever by using nature and The Garden of Eden as metaphors for cycles of life and death and the loss of innocence. This short poem uses a number of literary devices including paradox, juxtaposition, personification, and allusion to convey its themes. 59ce067264