Prior to beginning work on this discussion, read Chapter 9 from your text as well as the Bain (2014), Bryant (1998), and Freeman (2001) articles.
Most Americans are familiar with the concept of branding. We are all aware of logos, brand names, and symbols that identify specific brands of goods such as athletic shoes, soft drinks, video games, or magazines. Branding has become a multimillion dollar industry as an increasing number of organizations and public entities strive to align themselves strategically with a readily identifiable brand.
The concept of branding is also very important for law enforcement and correctional agencies. Agencies within criminal justice exist within a marketplace that is highly monopolistic. In the United States, there are no other agencies obligated to protect and serve the public other than local, state, or federal law enforcement organizations. There is no market for competition for the services provided by law enforcement.
However, within the field of corrections, the situation is somewhat different. Private prisons strive to offer better, more secure services and facilities at lower rates than public prisons. The correctional marketplace lacks the monopolistic nature found within the field of law enforcement.
Examine the concept of branding as it applies to law enforcement and correctional agencies. In your initial discussion post, you must address the following:
Explain the basic elements of public finance and how the idea of branding can be an important aspect of budgeting for law enforcement and corrections agencies.
Explain the basics of budget management and preparation in law enforcement and correctional organizations and how branding would fit into their finance scheme.
Evaluate the financial constraints that arise in budgeting and finance within the fields of law enforcement and corrections and how branding might be an important facet of those.
Sample Solution
Safavid Iran were embodiment of Persian soldiers and their plumed helmets.[16] The large group of Safavid alams in the Topkapi Museum in Istanbul are presumably reached to Ottoman by the several wars between the Safavids and the Ottomans suggested by the explicitly Shiite messages inscribed on the roundels with the names of the Imams [Fig, ]. Given the richness of imagery evidence from the illustrations of alams in the Shahnameh commissioned by Shah Tahmasp, a distinctive relationship between alam, sovereign and warfare can be demonstrated. In the battle of Pashan Begins [Fig, ], alams dressed up with colourful flags and ribbons were illustrated at the background as indicator of the presence of emperor and well as the battlefield. They are the symbols of warfare together as the various weapons illustrated. This type flat almond-shaped alam has particularly stand out during Safavid times. Evident from textual descriptions, it probably started to appear in religious processions in around the sixteenth century at the time of the establishment of Shiism as the state religion of the Safavid dynasty. They copied and symbolised the alams as the standard Imam Husayn and his comrades carried at the battle of Karbala. The ultimate relationship between the Imamsâ martyrdom and the ritual processions can be demonstrated from the alam made in the seventeenth century Iran in a shape of sword [Fig, ]. It symbolizes Zufiqar, the sword used by Ali in the battle [Fig, ]. On its openwork inscription, the names Allah (God), Muhammad, Fatima, Ali, Hasan and Husayn and the invocation âO Ali!â has all been included to indicate its ritual functions. The devotion and commemoration of the death of Husayn and his family would be especially evoked and enhanced by alams with a hand-shape. There is an alam in the Metropolitan Museum of Art made in early eighteenth century, with one finger missing, still have the shape of hand clearly represented [Fig, ]. The hand-shaped steelwork inscribed with prayers and auguries raised on the stick, signified the severed hand of Abbas, the revered half brother of Husayn, who were both killed at the battle of Karbala.[17] This man as the standard-bearer leading the whole branch of the Third Shia Imam, represented the loyalty to his religion. As such, alams became the symbol of firm devotion and courage of defending for the religion. In Muharram processions, alams are embodiment of the tough fight of Husayn and his army in Karbala. Standard-bearers and participants in the ritual processions became the followers of the martyrs, who are eager to show their determination of self-sacrifice in commemoration of the Imams. The standard-bearers who stands at the front serves a same role as Abbas, leads his band in the Muharrum procession. The alam would indicate the presence of the leader, motivate the branch by recalling the entire tragic event and the sacrifice of the Imams. Those long standards not only evoke a spectacular visual effects, the various inscriptions that generally called to the Prophet and Imams would also provide a sensory experience of sound to the public by calling to the names of the Imams. The large amount of surviving alam has not only proved the crucial notion of battle and warfare in the rituals, it has also made a huge contrast with the abs>
Safavid Iran were embodiment of Persian soldiers and their plumed helmets.[16] The large group of Safavid alams in the Topkapi Museum in Istanbul are presumably reached to Ottoman by the several wars between the Safavids and the Ottomans suggested by the explicitly Shiite messages inscribed on the roundels with the names of the Imams [Fig, ]. Given the richness of imagery evidence from the illustrations of alams in the Shahnameh commissioned by Shah Tahmasp, a distinctive relationship between alam, sovereign and warfare can be demonstrated. In the battle of Pashan Begins [Fig, ], alams dressed up with colourful flags and ribbons were illustrated at the background as indicator of the presence of emperor and well as the battlefield. They are the symbols of warfare together as the various weapons illustrated. This type flat almond-shaped alam has particularly stand out during Safavid times. Evident from textual descriptions, it probably started to appear in religious processions in around the sixteenth century at the time of the establishment of Shiism as the state religion of the Safavid dynasty. They copied and symbolised the alams as the standard Imam Husayn and his comrades carried at the battle of Karbala. The ultimate relationship between the Imamsâ martyrdom and the ritual processions can be demonstrated from the alam made in the seventeenth century Iran in a shape of sword [Fig, ]. It symbolizes Zufiqar, the sword used by Ali in the battle [Fig, ]. On its openwork inscription, the names Allah (God), Muhammad, Fatima, Ali, Hasan and Husayn and the invocation âO Ali!â has all been included to indicate its ritual functions. The devotion and commemoration of the death of Husayn and his family would be especially evoked and enhanced by alams with a hand-shape. There is an alam in the Metropolitan Museum of Art made in early eighteenth century, with one finger missing, still have the shape of hand clearly represented [Fig, ]. The hand-shaped steelwork inscribed with prayers and auguries raised on the stick, signified the severed hand of Abbas, the revered half brother of Husayn, who were both killed at the battle of Karbala.[17] This man as the standard-bearer leading the whole branch of the Third Shia Imam, represented the loyalty to his religion. As such, alams became the symbol of firm devotion and courage of defending for the religion. In Muharram processions, alams are embodiment of the tough fight of Husayn and his army in Karbala. Standard-bearers and participants in the ritual processions became the followers of the martyrs, who are eager to show their determination of self-sacrifice in commemoration of the Imams. The standard-bearers who stands at the front serves a same role as Abbas, leads his band in the Muharrum procession. The alam would indicate the presence of the leader, motivate the branch by recalling the entire tragic event and the sacrifice of the Imams. Those long standards not only evoke a spectacular visual effects, the various inscriptions that generally called to the Prophet and Imams would also provide a sensory experience of sound to the public by calling to the names of the Imams. The large amount of surviving alam has not only proved the crucial notion of battle and warfare in the rituals, it has also made a huge contrast with the abs>
