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A Feminist Critique of Police Stops examines the parallels between stop-and-frisk policing and sexual harassment. Law professor Josephine Ross trained teenagers to protect their rights only to discover that our constitutional rights are a mirage. In reality, we can't say no when police seek to question or search us. Building on feminist principles, Ross demonstrates why the Supreme Court got it wrong when it allowed police to stop, search and sometimes strip-search people and call it consent. Using a wide range of sources - including her law students' experiences with police, news stories about Eric Garner and Sandra Bland, social science and the work of James Baldwin - Ross sheds new light on how police use stop-and-frisk to threaten and marginalize vulnerable communities. This book should be read by everyone interested in how Court-approved police stops sap everyone's constitutional rights and how this form of policing can be eliminated.
Referring to the literature concerned with recognition of drawings, Ross suggests that self-drawings may be seen as advanced forms of the mirror test of self-recognition, and, as such, are likely to reveal the content of self-knowledge. She explores this proposition through two instructive experiments carried out with children aged 3 to 9 years. The first study establishes that the quality of self-drawings as well as the ability to recognize one's own drawings are related to self-awareness as measured by mirror recognition. The second experiment offers a deeper understanding of these relationships and shows that drawing recognition constitutes an act of self-recognition in itself. In this experiment, besides producing drawings, children were asked either to trace over their peers' drawings with a pencil (a drawing task involving a certain level of self-engagement) or to examine them visually while also hearing a verbal description. Whereas traced drawings were recognized as such after sizeable delays, those only visually examined were not. Ross concludes that ‘children's retrospective analysis of their own drawings has the potential to reveal their self-awareness’.
the maxim ‘Children draw what they know, rather than what they see’ is a formative and recurring topic in the study of children's art. This characteristic, implying a communicative or expressive function for children's drawings, has led many to reason that early artwork can be used to study cognitive development.
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