Theories in Information Systems Coursework Example | Topics and Well Written Essays - 5000 words

Theories in Information Systems - Coursework Example The behavior of actors like a particular individual or a whole organization upholds these institutions. One cognitive view advocates that a socialization process encodes a particular institution into a given actor. When the actor internalizes it, this transforms into a patterned behavior (script). Then the institution is reflected in this patterned behavior of the actor. This leads to the continuous reproduction of the institutions. When these institutions are enacted through the behavior of the actors, then other actors are able to witness this. This is the external manifestation of the institution which gives rise to a new process of socialization. However, after the passage of time, this externalization of the institutions through the behavior of its actors becomes an accepted fact. Then, the actors sometimes fail to realize their own behavior is actually reflective of an institution. Persons sharing the institution view it as perfectly logical for the behavior of the actors to be influenced by the institution.Organizational Learning Theory: This theory states that â€Å"in order to be competitive in a changing environment, organizations must change their goals and actions to reach those goals.† There are certain actions that the firm must consciously undertake to foster learning. When circumstances around it change, the firm must change its actions and it needs to be aware of the outcomes of its actions. The firm should be able to link its actions to their respective outcomes.... cultural explanations and an interest in properties of supra-individual units of analysis that cannot be reduced to aggregations or direct consequences of individuals’ attributes or motives.† The behavior of actors like a particular individual or a whole organization upholds these institutions. One cognitive view advocates that a socialization process encodes a particular institution into a given actor. When the actor internalizes it, this transforms into a patterned behavior (script). Then the institution is reflected through this patterned behavior of the actor. This leads to the continuous reproduction of the institutions. When these institutions are enacted through the behavior of the actors, then other actors are able to witness this. This is the external manifestation of the institution which gives rise to a new process of socialization. However, after the passage of time, this externalization of the institutions through the behavior of its actors becomes an accept ed fact. Then, the actors sometimes fail to realize their own behavior is actually reflective of an institution. Persons sharing the institution view it as perfectly logical for the behavior of the actors to be influenced by the institution. (York University 2010) Organizational Learning Theory: This theory states that â€Å"in order to be competitive in a changing environment, organizations must change their goals and actions to reach those goals.† There are certain actions that the firm must consciously undertake to foster learning. When circumstances around it change, the firm must change its actions and it needs to be aware of the outcomes of its actions. The firm should be able to link its actions to their respective outcomes. Under this theory, first the individuals participate in the initial

University of California Personal Statement Example | Topics and Well Written Essays - 750 words

University of California - Personal Statement Example niversity’s mission of building both the characters and careers of the students through focusing on academic achievement, excellence of the institution and service for the community encourage me to join and obtain my studies from the University of California. I am applying for a transfer to the program of Global Studies major with particular interests in Public relations and international relations. I have developed interest in the program because of my experience of different countries through travel and study during my early studies. In the year 2007 for instance, I travelled to Australia on an academic trip which took a full month and I had firsthand experience with cultural diversity. The experience was so strong and exciting that it in part encouraged my desire to travel and study in the United States. In the year 2010 I came to America as an international exchange student from China. I had to overcome the challenges of language barrier and cultural shock, an experience that very enlighten to me as a student & person. Previously I have studied at the Suzhou foreign language school, Nathan Hale-Ray High School in Connecticut and the Justin Siena Catholic High school in Napa Valley Elac. My experience in America as an international student has tremendously influenced my person and future career choices especially due to the cultural exchanges. I had the unique opportunity of studying with other students from different parts of the world such as German, Poland Hong Kong and others which allowed a lot of meaningful exchanged and propelled my desire to further my studies in Global Studies. I applied and was accepted by a number of universities but chose to pursue my studies at ELAC College with the sole intention of transferring to the UC whose system I believe is the best. Having such a diverse background in terms of academics I have come to learn that people’s orientation and background play a significant role in influencing their communication and

An essay considering whether Romeo and Juliet Essay Example for Free

An essay considering whether Romeo and Juliet Essay Romeo and Juliet was a play written by William Shakespeare in 1595. William Shakespeare died on St. Georges day, 23rd April, 1616, making Romeo and Juliet one of his earlier plays; written in what is now described as his second period, from his joining the Lord Chamberlains men in 1594 to the opening of the Globe Theatre in 1599. The diversity of Shakespeares work included comedies, histories and tragedies as well as poetry. Romeo and Juliet comes under the category of a tragedy, tragedy meaning an event in which something dreadful occurs, or in a theatrical sense a serious play with a tragic theme, often involving a heroic struggle and the downfall of the main character. This definition of tragedy relates to Romeo and Juliet because it is a play in which both the principal characters die in preventable circumstances at the close of the play. The downfall of Romeo and Juliet occurs by the fact that both characters start as young, beautiful descendents of powerful families and find themselves fleeing the city of Verona in fear of their lives and their relationship both banished by the authorities or their own households. However, an alternative view could be developed by looking at the perception of the word tragedy when the play was written; in the late 16th century. People of the time were of the view that if something tragic were to happen it must happen to a person of innocence, otherwise it is not technically tragic. Romeo is not an innocent person because he takes the life of another person on more that one occasion, with the murders of Tybalt and Paris. Even though there is the argument that these crimes were a consequence of his obsessive and at times over-enthusiastic love for Juliet, they are still actions that take away his virtuousness. Juliet damages her purity by treating the wishes and guidance of her parents with contempt and disregarding the arranged marriage to Paris. These egocentric actions help develop another, more imperfect impression of the two protagonists which provides an argument against Romeo and Juliet being a tragic play. In further illustration, tragic storylines generally end in unhappy circumstances, which on the one hand Romeo and Juliet does with the many deaths, for never was a story of more woe, than this of Juliet and her Romeo. Whilst on the other hand it could be argued that a more exultant conclusion occurs by the fact that the long-standing feud between the Montagues and the Capulets is finally resolved through their deaths. Basis for this statement is provided in the final scene by Capulet, O brother Montague, give me thy hand, this is my daughters jointure, for no more can I demand. In Shakespearean times Romeo and Juliet would have been compared to such tragic plays as Hamlet and Macbeth which were tragedies to the exact definition because they entailed stories of monarchs with flawed characters diminishing from the highest place in society to death over the course of the play. These stories fulfilled the public criteria for a tragic tale; a concept initially introduced by Aristotle, a Greek philosopher who lived from 384 to 382 BC. He produced directives for the perfect tragedy, concepts which heavily influenced academics and writers throughout Europe. He dictated that, the tragic heroes of any play must be people of royal or other high-born backgrounds. Therefore, Romeo and Juliet can be argued against being a tragedy because the two central characters are not royalty or part of any particular hierarchy. Many contend that being young and beautiful puts them in a social position to surpass most to begin with, although this does not fit unerringly into Aristotles theory. Aristotle exactly specifies the protagonists must be of royal or other high-born backgrounds, explicitly kings or generals, which Romeo and Juliet are not. The aforementioned statement can be supported by the following quotation from act three, scene one, in which Romeos killing of Tybalt is analysed, with the prince announcing, Immediately we do exile him hence. The fact that he has been exiled prior to his death illustrates further the fact that he is at a low point in society. Additionally, Aristotle also expresses his belief that these high born protagonists should have fatal flaws which lead to their downfall. Romeos fatal flaw is his impetuous and spontaneous nature which causes him to act before thoroughly thinking about what he is doing and considering the consequences of his actions. An example of his rashness comes when Balthasar tells Romeo that Juliet is dead, not knowing it is a faked death, hire post-horses, I will hence to-night. Here he is saying he will return to Verona, which he has been banished from, without waiting for news from Friar Lawrence; an action, as the audience soon finds out, that causes his death. His hot-headed rashness develops into the fuel for his uncontrollable obsession for his love, Juliet; who herself is fatally flawed by her notorious and narcissistic disobedience which causes her to defy the instructions and beliefs of her family. Juliet becomes so caught up in the irrepressible ardour of her relationship with Romeo that she fails to see the outrage and hatred she is rousing from an already hostile feud between two households. An example of her defiance comes when her mother tells her of her arranged marriage to Paris, He shall not make me there a joyful bride. Here she refuses to marry Paris, which infuriates her parents, causing them to reject their daughter; and inevitably her characters downfall as she is now shamed. These self-centred actions defiantly caused their demise leading to their death because if they both were to act with less haste when fuelling their love for each other then some of the consequences that occurred may have been prevented. Therefore, it is possible to maintain that Romeo and Juliet both suffered dramatic downfalls due to their own actions. On the contrary to this it could also be argued that as both their families recognised their lives by erecting statues of them, for I will raise her statue in pure gold, their characters therefore living on in a manner of speaking, meaning that their characters were not entirely degraded by their actions, thus rendering their characters not downfallen. Moreover, another notion primarily introduced by Aristotle was centred around the audiences perception of a tragedy, and how this could be used to define a tragic play. He said that the audience should feel pity and terror, pity for the hero and terror at the importance of the gods. This relates to Romeo and Juliet in the sense that the heroic characters are Romeo and Juliet themselves, whom the audience does feel a certain amount of pity for because of the unfortunate and seemingly preventable misfortunes that happen to them throughout the course of the play. Juliet is pitied for the fact that she is disowned by her family, do as thou wilt, for I have done with thee.

European Attitudes Towards Benin Bronzes

European Attitudes Towards Benin Bronzes The Art of Benin Read Reading 2.3 On the British loss of antique works of art from Benin in AA100 Book 3, Chapter 2 and look closely at Plate 3.2.25 Display for Benin bronzes at the Horniman Museum, London, 2007 and Plate 3.2.26 Display of Benin bronzes at the Horniman Museum, detail, 2007 in the Illustration Book. Drawing on your understanding of these sources, discuss the ways in which European attitudes to the Benin bronzes have changed over time. To discuss the ways, in which Europeans attitudes to the Benin bronzes have changed over time, we need first to go back to the period when they first were discovered, in 1897, following the British invasion of the Benin kingdom. We will also look into how the Victorian viewed the bronzes, and their craftsmen. Since the discovery of the artefacts, the bronzes have caused lots of debates and different opinions. It has been debates who produced the bronzes, when and for whom, and as a consequence museums and anthropologists have debated how they should be displayed. The Benin bronzes were discovered in 1897, during the time period, when the great interest in the British empire was flourishing, and stories of the imperial adventures around the world were very popular by the people in Britain. In the 1880s and 1890s, when Africa was heavily and brutally colonised by the Europeans, a new trend developed back in Europe. The deeper the colonists expanded into Africa, missionaries, civil servants, capitalists were not far behind. Letters, pictures and unusual objects were sent home to Britain, to later be shared and reproduced in books, newspaper and museums. Tales of estranged encounters and experiences with the natives, in particular primitive rituals, involving sacrifices and cannibalism, were very much on the agenda at the time. When the Kingdom of Benin was conquered by the British in 1897, it resulted in a traumatic end of the centuries-old kingdom and their ruler, Oba, the god-king. The news travelled fast about the British invasion, and the frontline journalists arrived just a few days later after the conquest. The weekly illustrated newspaper The Illustrated London News (ILN) was particularly interested in reporting stories that created a sense of drama. Artists along with journalists were at the frontline to convey in pictures about the events within the British empire. There were lots of eyewitness accounts of the events around the conquest. However, it needs to take into consideration, that they are somewhat biased as they were written by the British for the British, which resulted in a style of reporting that portrayed scenes of savagery and brutality by the natives. In the extract from the ILN, written in March 1897, for example, Benin is described as a city of blood having its pit full of dead and dying; human sacrifices were strewn about on every hand (Reading 2.1 in Loftus and Wood, 2008, p. 79). Taking those eyewitness accounts into consideration, with the findings of the artefacts, it is not strange the bronzes were described as having the most grotesque appearance (Reading 2.1 in Loftus and Wood, 2008, p. 79), and that the Africans were seen as dark and dangerous people (Loftus and Wood, 2008, p.45), a stark contrast to the white civilised Europeans. As a result, the significance of the bronzes was somewhat tainted by the preconceptions of the primitive and uncivilised African culture that little attention was given how the bronzes had been displayed or used before they were removed from the scene as the photograph shows (Figure 2.2 in Loftus and Wood, 2008, p. 50). Afterwards, the artworks and objects were brought to Britain, to the frustration of Henry Ling Roth, anthropologist who wrote in his book; and sold for a few hundred pounds a large number of castings which had cost thousands to obtain, as well as much blood of our fellow countrymen. (Reading 2.3 in Loftus and Wood, 2008, p. 80). But, it did not take long for collectors, scholars and art historians in Europe and America to realise the pure craftsmanship and the value of the Benin bronzes, thus tried to obtain the finest pieces. Roth points out; From what I can ascertain, the bulk of these bronzes has been secured by the Germans (Reading 2.3 in Loftus and Wood, 2008, p. 81) suggesting if the British government have had the proper knowledge of the study of anthropology, the Bini articles would be represented at British Museum, instead of the Royal Museum for Ethnography, in Berlin where the largest collection of 580 Benin artworks was acquired. Art historians and scholars were at first somewhat dubious that the bronzes had been produced by the craftsmen of Benin. Instead they were looking for other explanations, even so far as whether there was a possible link between Benin and ancient lost civilisations such as the Gnostics. The British Museum had to rush and to produce research about the Benin artworks as the popular interest in the African culture corresponded with the growing debates about the history of the human race. The debate about the origin of the Benin bronzes was considerable. Questions were raised about how the aesthetic qualities shown in the bronzes could possibly been created by a society such as Benin, which was perceived backwards and primitive, with stories of human sacrifices and brutality. When the British Museum held an exhibition of the Benin bronzes in September of 1897, the Times wrote a report, that no evidence or links, between Benin and lost ancient civilisation had been found, and the report concludes unexpectedly, with a surprise, that the magnificence bronze work was made by negro craftsmanship (Reading 2.2 in Loftus and Wood, 2008, p. 79) and not by any ancient lost civilisations. Subsequently, this new information caused somehow confusion for the British Museum, as the Benin plaques did not fit into the chronology of events as first presumed, and therefore the choice to display the Benin bronzes in the Assyrian basement can only be seen as an alternative option, given the difficulty of placing them among already existing artefacts with established chronological narrative. The Times describes the choice of display; An exhibition of a remarkable kind has been arranged in the Assyrian basement in such uncongenial surroundings (Reading 2.2 in Loftus and Wood, 2 008, p. 79). Consequently, when the Benin bronzes entered museum collections, both anthropologists and museum curators had difficulty to explain how these uncivilised primitives could produce something equivalent, in technical mastery, like the sculptures from the Italian renaissance for example. The way the artefacts and objects are displayed and described in museums are important for communicating the skilled knowledge about history and art to the general public. However, it is always difficult for the historian to know how the material has been interpreted by the viewer. Even tough, the facts about the new knowledge of the Benin artworks had been presented, it did little to change the racists ideas. Artworks were seen as evidence of civilisation, something Africa did not demonstrate in terms of progress, and therefore was seen as backward by the Europeans. The ethnographic museums, were likely to put together the display of what we regard today as artworks, together with functional items; like tools and weapons and utensils, which used to represent ideas how the primitives lived. Non-western objects were seen as scientific evidence and provided cultural knowledge, but not as art. One of the biggest changes that the modern movement brought, was the way art was displayed. One can probably say for certain, that the change evolved naturally, as art is always receptive to outside influence. Ann-Christine Taylor says in the interview about the exhibition in Paris; French museums with large ethnographic collections, were deserted by the public. Nobody knew what to do with these collections anymore. (Taylor, A. speaking in The Art of Benin, 2008). The problem they had on their hand, developed into the idea, to create a brand new cultural institution. Their aim was to try to capture peoples attention and interest by using visually spectacular objects. Their idea resulted in the exhibition, Benin, Five Centuries of Royal Art, shown in Musee de Quai Branly, in Paris. The museum made use of space and lightning, to emphasise each of the objects artistic quality in its own rightful way. There is some anthropological information about the plaques, to not solely adopt an aesthetic route. Nevertheless, many anthropologists were angry, as the exhibition was presented as works of art, emphasising on the visual impact rather than testimonies of cultural diversity (Taylor, A. speaking in The Art of Benin, 2008) While the debate how to best display the Benin bronzes continues, many museums were adopting the cross-referencing, bonding the gap between art and anthropology. However, some museums, such as The Pitt River Museum in oxford for example, has resisted and deliberately kept the traditional way of displaying objects with explanatory labels in glass cases. (Figure 2.9 in Loftus and Wood, 2008, p. 72). The Horniman Museum on the other hand, decided to take a step further and changed their display of its Benin bronzes, and incorporated both anthropological and aesthetic aspects. (Illustration Book, Plate 3.2.25 and Plate 3.2.26) Most significantly, it does not stop at the moment of aesthetic contemplation, it continues deeper into the entire culture of Benin, in the past and present. Making use of a variety of texts and photographs with new information based on contemporary research by Joseph Eboreime, a Nigerian historian. (Loftus and Wood, 2008, p. 75) The controversial views of the Benin bronzes have undergone a natural evolution since the discovery in 1897. But it is not only the bronzes, it is the whole transformation of western views towards Africa that has taken place. The Benin bronzes were mystifying for the Victorian anthropologists, and not easy to fit into a racist representation of primitive ways of life. Later throughout the twentieth century, the works of art started to become almost solely of aesthetic admiration rather than as a kind of historical evidence. There are signs, like those, that can be seen in The Horniman Museum, that the world of art is in for a new movement. Primitive art has become world culture, and the Benin bronzes stands as evidence of a shared human history. (word count 1633) Bibliography AA100 Illustration Book: Plates for Books 3 and 4 Loftus, D. and Wood, P. (2008) The Art of Benin: Changing Relations Between Europe and Africa II, AA100 Book 3, Chapter 2. The Art of Benin (2008) AA100 DVD ROM

Bartleby the Scrivener A Strange Relationship :: essays papers

Bartleby the Scrivener A Strange Relationship The Webster's New World Dictionary defines "folie a deux" as "A condition in which symptoms of a mental disorder, such as delusive beliefs or ideas, occur simultaneously in two individuals who share a close relationship or association." (231) In Melville's "Bartleby, the Scrivener" this concept of coinciding peculiarity, or obsession is demonstrated quite vividly throughout three different stages. The first, Bartleby's unwavering preoccupation with his employment, followed by his decision to do no work whatsoever, and finally Bartleby's determination to accomplish nothing at all, not even partaking of the basic functions required to sustain life. During each of these phases, Bartleby's actions are met with limited efforts on the part of the narrating lawyer, who endeavors to 'help' his odd employee. It is this interaction which poses the question of how much responsibility a human should have for his or her fellow man. Bartleby's focus passes through three main stages before his death, the first of which is his obsession with performing a single action to the exclusion of everything else. Initially, Bartleby works day and night, "as if famished for something to copy." (Melville paragraph 18) His goal, it seems, is to single-mindedly to accomplish as much copying as is humanly possible. The first few attempts on the part of the narrator to tell Bartleby to do something else, no matter how moderate the task, are met with the simple refusal, "I'd prefer not to." (Melville paragraph 21) The narrator reasonably chooses not to punish this insubordination because of both the quality, and the quantity of Bartleby's regular work. After a series of requests from the narrator that all end in noncompliance, Bartleby shifts his focus from the intensive copying of documents to simply doing nothing at all. This, of course, is a kind of obsession that is not acceptable in the modern work force, and can not feasibly be tolerated by the narrator. As the agent of punishment, the narrator is at this point stuck with making the decision to either sympathize with Bartleby, or lose his professional reputation. In a final attempt to clear his conscience, the lawyer proffers both alternate employment options, and temporary housing arrangements. Once again, all efforts on the part of the narrator to offer genuine help are rebuffed, and the narrator at last "proposes to remove his offices next week. Bartleby the Scrivener A Strange Relationship :: essays papers Bartleby the Scrivener A Strange Relationship The Webster's New World Dictionary defines "folie a deux" as "A condition in which symptoms of a mental disorder, such as delusive beliefs or ideas, occur simultaneously in two individuals who share a close relationship or association." (231) In Melville's "Bartleby, the Scrivener" this concept of coinciding peculiarity, or obsession is demonstrated quite vividly throughout three different stages. The first, Bartleby's unwavering preoccupation with his employment, followed by his decision to do no work whatsoever, and finally Bartleby's determination to accomplish nothing at all, not even partaking of the basic functions required to sustain life. During each of these phases, Bartleby's actions are met with limited efforts on the part of the narrating lawyer, who endeavors to 'help' his odd employee. It is this interaction which poses the question of how much responsibility a human should have for his or her fellow man. Bartleby's focus passes through three main stages before his death, the first of which is his obsession with performing a single action to the exclusion of everything else. Initially, Bartleby works day and night, "as if famished for something to copy." (Melville paragraph 18) His goal, it seems, is to single-mindedly to accomplish as much copying as is humanly possible. The first few attempts on the part of the narrator to tell Bartleby to do something else, no matter how moderate the task, are met with the simple refusal, "I'd prefer not to." (Melville paragraph 21) The narrator reasonably chooses not to punish this insubordination because of both the quality, and the quantity of Bartleby's regular work. After a series of requests from the narrator that all end in noncompliance, Bartleby shifts his focus from the intensive copying of documents to simply doing nothing at all. This, of course, is a kind of obsession that is not acceptable in the modern work force, and can not feasibly be tolerated by the narrator. As the agent of punishment, the narrator is at this point stuck with making the decision to either sympathize with Bartleby, or lose his professional reputation. In a final attempt to clear his conscience, the lawyer proffers both alternate employment options, and temporary housing arrangements. Once again, all efforts on the part of the narrator to offer genuine help are rebuffed, and the narrator at last "proposes to remove his offices next week.

Nature and Nude Bodies :: Advertising Health Ads Essays

Nature and Nude Bodies Beginning a long time ago, many companies started using sex in their advertisements; however, contemporary advertisements are beginning to use different aspects of nature to sell their products. For years, sex appeal was perhaps the most important attribute of a product. Companies would show young, half-naked bodies in their TV commercials and magazine advertisements. The producers sought to force the public audience to take pleasure by looking at these beautiful ladies, while also making viewers feel naughty at the same time. Advertisers thought the audience would not be able to avoid looking at these well-endowed women. And to consumers, the women were appealing, and that made the product itself appealing. In some recent commercials, however, the concentration has changed from sinful desires to the more healthy approach to life. Everyone wants to appear healthy and in good shape. To achieve this, many people are eating better, working out more ofte n and using healthier products on their skin. To demonstrate the idea about natural products, I have chosen three advertisements to show how these companies use nature to sell their products . According to health care specialists, the best way to stay healthy is to use natural products such as products containing natural vitamins and minerals. In fact, even in ancient history, natural plants were used to make skin-care products. Berries and shrubs were pounded into pastes that protected the skin, while also keeping gnats and flies away (Lee 18). Therefore, in ancient times and in the present, as long as an advertisement mentions something about a natural ingredient or contains a visual look of nature, consumers will more than likely buy that product. In a recent Eucerin ad from a Health and Beauty magazine, Eucerin is publicized as a skin lotion used to protect against the sun. The top of the black and white ad shows a nude woman from the shoulders up.

My Name Is Margaret Essay

â€Å"My name is Margaret† was written by Maya Angelou. She was born in 1928 in America, and her full name was Marguerite Annie Johnson. Maya Angelou was a talented person. She was a poet, an author, a singer, an actress, and a playwright. Writing â€Å"My name is Margaret† she recovered the truth of the unfair behavior of the white people with the black ones and described the people’s loss of their identity. My name is Margaret summary The story tells about the young black girl who started to work for the white woman. She was only ten years old, and it was a great and remarkable experience for her. She was forced to study many things in the household hadn’t known before. The girl was surprised what a great variety of kitchen tools there can be. She hadn’t even realized that there existed the glasses for water, glasses for wine, glasses for the ice cream and a lot of more that astonished her. The same was with the knives, forks, and other tools and consequently, a great part of her working day was spent on learning all of these things. Margaret was working on an ugly old lady who couldn’t have their children. The girl mentioned that the only thing that could beautify her mistress was a smile. However, this smile only appeared on Mrs. Cullinan’s face when she was sharing a cup of tea with her friend ladies. There was one more servant, Miss Glory, who had been working in that house for twenty years and patiently taught Margaret everything that she should know about household and the manners of their mistress. The bad things began when Mrs. Cullinan called the girl â€Å"Mary† for the first time, explaining that is a shorter name and more convenient to pronounce. Margaret was extremely dissatisfied with this action and was struggling to do her best to get rid of this job.    My name is Margaret analysis Maya Angelou tried to picture the importance of our names. Each name is a unique and expresses the peculiarities of its owner. Surrounding people identify us with the help of our names. In our minds, each name is associated with the list of different stories, occasions, situations related to the person who owns this name. Our name creates a specific picture, and if we change it, we stop being ourselves. That is why Margaret was extremely shocked and crossed when she heard the first time the name â€Å"Mary† that was appealing to her. She didn’t react and tried to explain with all her behavior that her name isn’t Mary. She didn’t want to be somebody else; she wanted to be herself that meant to be Margaret, not Mary. Being called with another name signified for her that nobody took in the consideration her existence. None forced to notice her and communicate with her as with specific and unique individual. For her mistress, Margaret was just a servant, and she didn’t bother how to name her. Mrs. Cullinan never minded thinking about girl’s personality as far as the servant complete her work and do everything that is demanded of her. Margaret wanted to be herself, but nobody cared who she was and who she wanted to be. The girl found out that the elder servant, Miss Glory, had met the same situation in her life. Her real name was Hallelujah. Though, Mrs. Cullinan once decided that it is too long to remember and pronounce every time such a complete name and shortened it to the Glory. Margaret didn’t expect to hear that. She couldn’t understand why the senior woman didn’t even mind it and even loved her new name better. It was inadmissible to live the whole life with the name that doesn’t belong to you. Miss Glory may not bother, but Margaret took the strong decision not to tolerate it. If they didn’t want to receive her as Margaret, she wouldn’t act as Margaret. She didn’t care about rules and successions and did everything wrong on purpose. She aimed to attract the attention of being a bad servant and to be discharged. After all, there was a day when Mrs. Cullinan finally called the girl â€Å"Margaret.† Unfortunately, it was after having experienced the pain of the crushing of her favorite china serving tray. The serving tray was of extreme importance in Mrs. Cullinan’s house as it was her mother’s china from Virginia. The mistress was broken and bursting with the tears. In the condition of complete desperateness, she shouted: â€Å"Her name is Margaret.† Margaret was glad that she finally forced her mistress to understand the simple truth – her name was not Mary. Her name was Margaret. Maya Angelou wanted everyone to understand how it is extremely important not to lose the identity in our everyday life. Many people would consider us as somebody who lives someone else’s life. However, we shouldn’t agree for any reason. We were born to be unique, and that means, we could not die as a copy of another person.