Abstract
This paper analyzes how toy guns are becoming a danger to society because of their similarities to real guns; some are so realistic that even police officers cannot tell the difference. It shows how many people, including children, die as a result of these cases of mistaken identity and how, by being allowed to play with toy guns, children get the impression that they are acceptable, which can lead to aggressive behavior and a careless attitude toward real weapons. It looks at how New York City lawmakers are seeking approval for a bill that would potentially ban the sale of toy guns altogether.

From the Paper
"It is a parent's job to teach their children about gun safety. Kids learn just about everything from their parents, including their views on gun use. Allowing them to play with toy guns is sending them the message that toy guns are OK, when, in fact, they are not. Children may not even know that guns are dangerous because they are sold as toys. In addition to creating a generation largely unafraid of guns, "some studies have linked toy gun play with aggressive behavior, and some child health professionals counsel families to limit this type of activity" (Collins 1). Children are already confusing toy guns with real guns, leading to serious injury to both the child and others and when playing, they are in effect practicing to shoot a gun."

Tags:aggression, police, law, ban, weapons

From the Paper
"Although eyewitness testimony is often unreliable, its quality is not always poor. Previous research shows that the type of testimony indicating the most accurate identification involves the unstructured recall of actions. Eyewitness testimony is still a human phenomenon, and as a result, it is subject to many external and internal factors. For instance, whether the "witnessing" took place in light or dark conditions, whether the lineup is live or on videotape, the capacity of short-term memory, unconscious transference, and a host of other psychological and external factors may all affect the degree of accuracy of the eyewitness testimony. This report will take a close look at these factors affecting eyewitness testimony, in addition to illustrating how innocent bystanders can sometimes be identified by eyewitness testimony as the suspected criminal(s)."

Abstract
This paper studies Viola, the protagonist in William Shakespeare's comedy "Twelfth Night". The paper examines Viola's disguise as Cesario, focusing on the themes of self indulgence, disguise, self deception and identity. The paper also looks at how Shakespeare uses the comedic vehicles of disguise and mistaken identity to make Viola an even more intricate character.

From the Paper
"Viola is a young woman born into aristocracy whose ship is wrecked in a storm, causing her to wash up on the shore of Illyria. Believing that her brother, Sebastian, is dead, Viola disguises herself as a young man who she names "Cesario" and becomes a page to Duke Orsino. Viola falls in love with Orsino, while Olivia, the woman Orsino is courting, falls in love with Cesario. Hence, Viola finds that her clever disguise has trapped her, as she is unable to tell Orsino that she loves him, and she is also unable to tell Olivia why she, as Cesario, does not and cannot love her. Viola's predicament is the central conflict in the play."

Tags:comedy, identity, literature, play, tragedy, Cesario, Orsino

Abstract
This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.

From the Paper
"Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"

Tags:disguise, identity, lovers, characters

Abstract
This paper explains that the short stories "The Monster" by Bertolt Brecht, and "Thief" by Robley Wilson, Jr. are very different in terms of their content, the periods and characters they represent. The author argues, through a focus on characterization and plot, that both stories explore a common theme of stereotypes and mistaken identity. The paper relates that both the characters in each story and the events of each plot reveal how mistaken our interpretations of other human beings often are.

From the Paper
"The short stories "The Monster" by Bertolt Brecht, and "Thief" by Robley Wilson, Jr., are very different in terms of their content and the periods and characters they represent. However, as this essay argues, through a focus on characterization and plot, both stories explore a common theme of stereotypes and mistaken identity. As is seen, both the characters in each story, and the events of each plot, reveal how mistaken our interpretations of other human beings often are. Bertolt Brecht's "The Monster" is a story told from the perspective of an omniscient narrator of an incident at a Russian film company."

Tags:english, literature, stories

Abstract
This paper discusses the need for airline security. In particular, the paper discusses the methods used to implement airline security and looks at the negative implications that may result. The paper discusses these from a sociological and ethical perspective. In addition, the ethical issues that arise when implementing airline security and screening are discussed as well how these issues can be overcome.

Table of Contents:
Social/Ethical Issues of Airline Screening
Registered Travel
Ethical/Social Issues in Relation to Registered Travel and Screening
Cost of Registered Travel
Mistaken Identity
Privacy of X-Ray Scanning
New Opportunity Presented by the Issue
Conclusion

From the Paper
"The aviation industry as of late has faced the incredible problem of security, due to a particular breach thereof which had horrifying results and implications as to the possibilities of unsafe air travel. In consideration of this, security measures were necessary to ensure that such a situation would not again arise. Thus, screening became a step in travel, one which is now faced with various solutions with differing degrees of social and ethical mettle. The registered flyer program established to enable pre-screening is jilted by the financial requirements of the service, ignoring fiscal inequality within society. The ethics of allowing private companies to determine the identity of citizens are also murky considering the freedom for error and abuse created. Privacy will be and has always been an issue within American society. The existence of machinery which invades this must be met with rules to prevent its abuse, as unethical employees may figure out a way to turn off censors, thereby seeing things the flyers would not with them to. As with any industry, that of aviation faces numerous pitfalls to social and ethical wrong, which must be sought out and corrected prior to any damage being done."

Tags:screening, travel, TSA

Abstract
According to Aristotle, tragedy requires, among other things, a character whom we admire greatly, but who possesses a flaw--hamartia, or some error in judgment. He falls from happiness into misery as the play progresses through what is sometimes translated as "serious action," action which is complete, noble, and poetical. The total effect invokes dismay and horror. In the end comes the anagnorisis: the recognition or uncovering of the error. In the naive form, a hero or heroine recognizes a person or thing previously mistaken in identity, through some scar or mark or other sign. Iphegenia, for example, recognizes her brother as she is about to sacrifice him to the gods. It is the purpose of this paper to discuss how the fear of God's wrath can make some punish themselves in worse manners than the Gods would actually do. It is also the intent of this paper to examine the works of Sophocles, "Antigone" and "Oedipus Rex" to shed further light on this subject.

Abstract
The paper discusses that human beings tend to view sharks very differently from other aquatic species, based on the fact that many people have fallen victim to attacks by sharks. The paper then relates that our characterization of sharks as ruthless killers intent on consuming us reflects our emotional response to the concept of being eaten alive. The paper also relates that, contrary to assumption, sharks - even those large enough to consume us - do not actually hunt human beings and that, more often than not, shark attacks on humans are often cases of mistaken identity. The paper concludes with the observation that many species of shark are capable of being hand-fed in the wild without protective enclosures to ensure the safety of the feeders which illustrates how exaggerated the general fear is of unprovoked attack by sharks.

From the Paper
"Like dolphin, tuna, swordfish, and many other large predatory aquatic species with which we are familiar, sharks must locate and consume other organisms to survive. To do so, they have all evolved physiologically and behaviorally to adapt to their environment and to guarantee successful hunts often enough to survive. Unlike the other aquatic species, we fear attack from sharks disproportionately to the ual risk, simply by virtue of the fact that some of them are large enough to mistake us for their prey under the right circumstances. Our characterization of sharks as ruthless killers intent on consuming us reflects our emotional response to the concept of being eaten alive than
reality."

Tags:predatory, attention, falling, prey, unnatural, interaction

Abstract
Discusses the high number of African-American males falsely imprisoned, issues of mistaken identity, prosecutorial misconduct, and suppression of evidence. Describes advocacy groups that provide assistance to people wrongfully imprisoned and the use of DNA.

From the Paper
"False Imprisonment, Black Males, and New York
Introduction
False imprisonment is defined as "the unlawful restraint or detention of one person by another" or "any use or threat of force that makes someone stay where he does not want to stay or go where ..."

Abstract
The paper illustrates how, throughout "The Twelfth Night," we see how the characters are the prey of irrational forces when we look at the series of mistaken identities. The paper also shows how in "Medea" the irrational takes on a more radical form and drives the character on a series of terrible murders. The paper demonstrates how in both the Shakespearean comedy and the Greek tragedy, human behavior is seriously influenced by the irrational forces. The paper portrays how these forces take on different forms, from love to jealousy and the desire of revenge and how they always make use of devices to attain their purposes.

From the Paper
"Shakespeare blends in his play everything that can be an exponent of the irrational: the play is filled with cases of mistaken identity, with gender as well as identity disguises, with pun-making about reality, and with the play of fools and clowns who interfere in the action of the play at every step. The beginning of the play itself is very suggestive: Viola and her twin brother Sebastian are shipwrecked, and lose each other's trace on the shore of a fictive country with the name of Illyria, an obvious pun as, Hartmann observes, composed "out of Ill and liar/lyre" . Thus the play itself begins with a land whose name hints to lying and farce-making, and also with a shipwreck, another manifestation of destiny or of another irrational force."

Tags:love, jealousy, revenge, identity, murders