Is Suicide Intervention Justified?

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Is suicide intervention justified?

With the abundance of suicide throughout the world, one has to wonder whether intervening in a suicide attempt is justified. There are two opposing principles on this topic, one being the principle of autonomy and the other being the principle of respect for life. There are also views that support each of these two principles such as paternalism and anti-paternalism.

In order to support the principle of autonomy, I must do three things. First, I will present the moral justifications for intervening in a suicide according to the principle of respect for life. Second, I will present the view of paternalism which supports the principle of respect for life, and also refute it with the view of anti-paternalism, supporting the principle of autonomy. Finally, I will present the moral justifications for not intervening in a suicide by presenting the principle of autonomy.

Moral justifications for intervening in a suicide The principle of respect for life.

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The major moral justifications for saving human lives attempting suicide come from the principle of respect for life. This principle states that humans should never do things to harm other humans. We should always respect human life. If a person is in a position to help prevent a suicide, they are obligated to do so. This principle gives two main reasons for siding with the respect for life when a person is suicidal. (1) In most cases, people don't really want to die, and () A person should discover the suicide's motives before letting him or her continue. Many people in fact have only a short-term desire to die and are often not thinking clearly while attempting suicide. It is also important to distinguish that if a person is mentally ill, it is morally justifiable to intervene in their suicide attempt. Another good example looked at by the respect for life principle is a retributive suicide, or violent suicide. The principle states that humans in general are more likely to act on the respect for human life than act on the respect of human autonomy. John Stuart Mill placed himself in the middle of this argument. His view held that it is okay to intervene in a suicide in order to be sure a person is acting intentionally and rationally with knowledge of their consequences. But once informed, we should let the person be free to do what he or she wishes.# It can be argued that using the respect for life principle generates a sense of community and caring, while using the autonomy principle generates a sense of indifference.

Paternalism versus anti-paternalism

One could justify intervening in a suicide attempt using paternalism. In order to explain paternalism, I must first define it. Paternalism is interference with someone's freedom for that person's own good. People use paternalism to justify intervening when the person attempting suicide is rational and competent. Paternalism is used to protect the person from three things, (1) extremely and unreasonably risky actions, () actions that are contrary to the person's best known interests, and () actions that are potentially dangerous and irreversible.# Therefore, when arguing for the respect for life, one can cite that there are many things done in our society for a person's own good. Stopping a suicide would be something done to protect people for their own good, much like the examples of medicine and seat belts in society.

There are limits to paternalism however. Using paternalism seems to be both coercive and forceful. John Stuart Mill argues that each person is the best judge of his or her own best interest. He also argues that since paternalism is coercive, the only good that comes from it is temporary.# The anti-paternalistic view held here is saying that when using paternalism one is taking away all the rights which make up a person's autonomy. Coercing or forcing a person to conform is against many moral philosophies and should therefore not be used when philosophically determining the validity of intervening in suicide attempts.

Moral Justifications for not intervening in a suicide The principle of autonomy

Forcing views on another person is wrong, and therefore one should agree with the principle of autonomy. The principle of autonomy states simply that people have the freedom to choose, and therefore, can decide for themselves whether or not they want to end their lives. There must be a very important distinction made in order to hold this view however. The only way it is acceptable to let a person decide for themselves is if they are making an autonomous and rational decision to end their lives. In the case of mentally ill people, or retributive suicides, there are in fact moral justifications for intervening. To kill oneself in a vengeful way would be to undermine one's own dignity, therefore making suicide unacceptable. But these are the only cases where it is morally justifiable to intervene in a suicide. If one is committing suicide because further life would compromise one's dignity, then it is morally justifiable to let them do so. In essence, there must be good, rational, and logical reasons to justify the suicide of a person. In these cases it is okay, but one must also take into account the many ways in which a person's suicide is not justified. These cases were presented above, but there is still greater evidence to show that it is morally better to let people have the freedom to choose whether or not they want to live.

With the many differing opinions on the matter it is easy to see where one could get confused. One has to see however, that interfering in the autonomy of a human being is morally unacceptable. Unless a suicide is an act of revenge, hate, violence, or mental incapacity, there is no need to intervene. Truly rational people have the absolute right to make their own decisions, no matter what.

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The Life of a Killer

Violet sat in a corner of the caf' with her nose in a book. She was the only one in the coffeehouse sitting alone. The scent of coffee filled her nose, and the pink and gold wallpaper was a wonderful vision for her eyes. However, she preferred to read her book. At least, that's how it looked to people at a distance. The pages of the book were splashed with tears and a bottle of aspirins lay in her hand. Popping three of the aspirins in her mouth, she downed her coffee and made her way to the restrooms, leaving her book on the table.

Sandra paced her room in long strides. Her dark purple carpet was even darker where her tears had fallen. Slowly, she opened her drawer and took out a pill bottle. She took a few, slow sips of her water and rushed to the kitchen as bitterness filled her mouth. She quickly poured herself a glass of orange juice and took a few sips to hide the bitterness of the water. She made her way to the living room and turned on the television, which she knew would be a good distraction for her.

Mary, Violet and Sandra's mother arrived home late from work as usual. She found her daughter Sandra lying peacefully on the light blue sofa sleeping, and then went to look for Sandra's twin Violet. Violet, however was no where to be seen. Mary made her way back to the living room and covered up sleeping Sandra, brown hair sprawled over her head like an angel, with a fur blanket and turned off the television. She figured that Violet had just went to a friend's house and was unable to call so Mary went into her completely pale pink room for a well-deserved rest.

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The next day, Mary awoke with a start as the phone rang. Bleary-eyed and still half-asleep, Mary picked up the loud phone and was just able to croak a 'hello'.

The phone call was from her 'ex', Violet and Sandra's father. He barely called, as he had left the family one night, and their mother taught Sandra and Violet that he was a person who completely lacked morals. Mary managed to have a conversation with him, and he was not even interested in the welfare of his two daughters. The reason that Mary's 'ex' Sam had called at all was that he wanted to know if she had cashed the check that he gave the family for Christmas. Mary groaned and told him that if he wanted his money back, she would rip the check up faster than you could say 'idiot'. Sam paused for a minute, his slow brain registering what she had just said, and replied with a small 'great, thanks' before hanging up.

Mary decided to not go back to sleep, so she went to the kitchen to make herself breakfast before she went to work on a Saturday, as she always did. Smelling the wonderful scent of pancakes helped Mary get her mind off all her problems. She divided the pancakes into two portions and poured two glasses of milk to go with the pancakes. Bringing the pancakes into the living room for her and her daughter, Mary sang for Sandra to wake up. When the singing did not wake the sleeping nineteen-year old, Mary decided to open the blinds so that the light morning sunlight might wake up the child. But still she didn't wake.

Sandra usually wasn't such a deep sleeper, and now Mary started to worry. She repeatedly tapped Sandra on the shoulder, but she still refused to wake up. She told Sandra right in her ear that she had to wake up, but the girl still refused even move. The beautiful blue eyes stayed shut. Mary took out a hand mirror from the side drawer and held it up to her daughter's nose. No fog formed on the mirror! Mary started weeping uncontrollably, and she broke down on the ground, crying. With a shaky hand, she dialed the hospital and cried to the operator to send an ambulance over right away. Five minutes later, the paramedics arrived and they rushed Sandra to the hospital. She was dead on arrival, as the doctors had put it.

Mary used the hospital phone and tried desperately to reach her daughter Violet. She called all of Violet's friends, but all of then said that they had not seen Violet for a while. Mary decided that everything that was happening was too much for her. She ran out of the hospital and just kept on running, not sure of where she was going to go.

About three minutes later, Mary found that her legs were taking her where she and her daughters had gone so many times when she wasn't working, the small coffee house. She decided that if she just walked, she might be able to calm down and try and find Violet. Mary stumbled over a bush and came into eye contact with a familiar looking pair of red high-tops. She picked up the shoe and realized that there was a leg attached to it. Attached to the leg was a torso, and attached to the torso was a neck and on the neck was a… a head that looked EXACTLY like Violet's. Mary's breathing started to get deeper and deeper and tears started to well up in her eyes. People passing by saw a forty-five year old woman lying in a bush, crying, and someone was bright enough to call the paramedics.

The paramedics arrived, and once again Mary found herself in an ambulance, this time with her other daughter. The doctors once again pronounced the nineteen-year old girl dead on arrival, and Mary went home to her empty house. That night when Mary lay in her pink bed, thinking, crying, she resolved to herself that she would find out who killed her beloved daughter.

The next day Mary received a call from Sam. He had heard the news through a friend who worked at the hospital, and he cried over the phone and told Mary that he would arrange the funerals. Later in the day Mary got a call from the hospital telling her that they had done some tests and they had found how the twins had died. Apparently Violet died from a prescription drug overdose, and Sandra had been poisoned. Mary put the phone back into the holder and started to tremble before the reality hit her that either her daughters had committed suicide, or someone had wanted to kill her daughters, and turned out to be successful in doing so. She preferred to believe the latter one. She decided to be open minded, but strongly believed someone had KILLED her daughters.

She dialed the only person who really hated her two daughters, a classmate named Kathy Grimalof. Kathy had hated Violet and Sandra ever since they were little. Violet and Sandra had always been more popular that Kathy could ever dreamed of, and she hated them for that. Kathy was the type of girl who you did not want to get to know, the kind of girl who always had a mean look on her face, the kind of girl that would kill to get what she wanted. She hated Sandra and Violet in a way that could only be described as pure evil. The former mother or two teenage girls had known that girls would do ANYTHING for popularity these days.

Mary called the operator and asked for a connection to Kathy. Kathy herself picked up the phone, and before the girl was able to sputter out a 'hello'. Mary started to yell and scream and threaten the nineteen-year-old with death threats. Kathy started to cry over the phone and claimed that she didn't do any thing. Mary hung up and felt complete satisfaction. She had found her daughters' killer, and now she was ready to go to the police.

A thought then struck her SHE HAD NO EVIDENCE! The police would never take her seriously. She knew what she had to do. Mary threw on her coat and made her way to the caf' where she and her daughters had loved to go, and where she knew was the place where Violet had been last. Mary stepped into the coffeehouse and was instantly washed over with the scent of coffee. She had loved the atmosphere of the caf', relaxed, yet the d'cor had a fancier appeal to it, and the music was soft and classy. Stepping inside the building brought back too many memories of Violet and Sandra, and Mary could feel her eyes stinging, trying to keep back the tears. Although she was extremely overwhelmed, the middle-aged woman managed to keep her tears back for her daughters, and she stepped up to the counter and asked for a cup of cappuccino.

Casually, she leaned against the counter and asked one of the regular workers, Emma, if she had seen Violet in the past few days. Emma replied that she had seen Violet, just some days back, and she had been rubbing her head and crying over a book. Mary took this information and processed it in her brain over her cappuccino. Cappuccino always made Mary feel better because she knew that it was like taking a minute out of your life just to enjoy some warm sweet-bitter liquid in her mouth. Knowing that she could not stall the analyzing process any longer, Mary finished the last sip of coffee and she realized that it tasted heavier on her tongue, just as her heart had after snapping back into reality and realizing that her two precious daughters were dead.

Twisting a strand of her bleached blond hair between her fingers, Mary came to a conclusion of exactly what had happened. Violet had gotten into a fight with Kathy and Kathy had decided to kill her. Or maybe it wasn't Kathy… Mary realized that her thoughts were going against what she knew was true, and determined to have Kathy put on trial. Now the only thing that Mary had to do was find Sandra's killer.

Calling people had never been one of Mary's favorite jobs, but she needed to do it for her daughter. She called everyone at school and she had asked if Sandra had been in a fight with anyone lately. The only person that people thought that Sandra had been in a fight was with her sister Violet. Mary dismissed the fight as mere sibling rivalry. Mary did not know what to do. She had called everyone and she still had no clues pointing to Kathy. Unless Violet had… NO! Of course Violet had nothing to do with the death of Sandra. The fight was one that sisters had, not something that would actually upset either of the girls. Mary checked her diamond watch with the long hand on the and the short had a little past the 1. Deciding to turn in, Mary changed into her nightgown, picked up her favorite novel, A Bend in the Road, and tried to read, but she cried herself to sleep instead.

The next day there was a knock at the door at about nine o clock in the morning. Stumbling out of bed and moving slowly, Mary walked to the door and opened it slowly. She was surprised to find a red-eyed Sam at her door. Shaking the cobwebs from her brain, Mary quietly asked Sam what was wrong. He explained that he knew who the killer was.

Mary sat silently, shaking, and after what seemed like eternity, asked who. Sam looked up at her; his brown eyes filled with tears, and said something so quietly that not even a dog could hear. But Mary could. Her heart shattered into a million pieces when Sam whispered the name "Sandra".

Going into rage, Mary started yelling about how there was absolutely no way that Sandra would kill herself. When Sam told her that he had hired a private detective that put all of the clues together, Mary got even more furious. Why should he have hired a private detective that didn't even know the sisters! Why should he have hired a detective that didn't even know where they lived! When Sam explained that the detective had searched the girl's rooms, Mary got even more furious. How dare he encourage someone to break into her house! How dare he encourage someone to look through their daughters' things! All the while Sam was trying to explain the situation to Mary. When he said, " There was a note!" Mary instantly fell silent.

Sam slowly pulled out a piece of lined paper from his pocket. "This was in Sandra's room in her desk" Mary read the note Dear mother, I always knew that Violet was your favorite daughter. Please don't be mad. Please don't be mad with yourself either. You gave me everything that you could; I just needed a little more motherly love to feel more special to you. I really will miss you, but I am not so sure how much you will miss me. Love, Sandra P.S. I know that your work is more important to you…

Mary clutched the note very tightly in her hand. She looked up at Sam with wide eyes filled brimming with tears. His brown eyes sparkled as a tear trickled down his pink cheek. " They say Sandra had been suffering from severe depression. They said that it is possible that either you did not see the signs because you were over-working yourself, or that you just did not want to believe it…. " " But what about Violet??" Mary asked in a shaky voice " Sandra killed her. She was jealous of Violet. On the day of her death, the detective tells me that Violet was in a caf' crying over a blinding headache. Sandra had switched Violet's normal aspirins with a different, stronger pill. There was evidence of that in the pill bottle that was in the garbage at the caf'. Violet took three of what she thought was her normal pills, and the pills are so strong that they can cause a drug overdose to someone of her stature. While she was walking home she had dropped dead, and she either fell into the bushes or someone dragged her body there later. Sandra couldn't believe what she had done, so she had gone home, cried and then poisoned herself. She probably died in the early hours of the morning as the poison spread through her body.

Mary had been crying throughout the whole explanation. She could not believe what she was hearing. She broke down on the floor and Sam stood by her, trying to comfort her. She pushed him away and ran up to her room. She slowly pulled out a revolver from one of her light pink dressers…. the one that she had for protection. A shaky hand lifted the gun to her head and a shot rang out through the town as red blood stained the beautiful pink walls. Mary could have saved her daughters…. She could have saved them…. They could be living…. A mother only sees what she wants to see…. She might as well have killed them herself…. It was all too much for a mother to take…. So she took her own life…. The life of a killer….

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History of Metals

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Tungsten (W)

Tungsten was discovered in 178 in Spain by Fausto and Juan Jose de Elhuyar.It has the highest melting point of all metals (and all elements other than carbon) at 4°C, and so is used in missiles. It is also used in glass-to-metal seals, light bulb filaments, X-ray targets, heating elements in electrical appliances and electrical contact points in cars.

Lead (Pb)

Lead has been known since ancient times, its date of discovery is not known. It is believed to be the oldest metal. Lead's many uses include batteries, cable covering, ammunition, paint, shield around x-ray equipment, plumbing and in insecticides.

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Radium (Ra)

Radium was discovered in 188 by Pierre and Marie Curie in France. It is over a million times more radioactive than the same weight of uranium. It is luminescent and used in self-luminous paints and in treatment of cancer.

Iron (Fe)

Iron has been known since prehistoric times, and is mentioned in Genesis. Smelted iron artifacts have been found, dating back to 000 B.C.E. It is a key component of haemoglobin, but is usually combined with other metals in an alloy, as it is very reactive and corrodes rapidly. Common alloys involving iron include pig iron, wrought iron, carbon steel and alloy steels.

Lithium (Li)

Lithium was discovered in 1817 in Sweden by Johan August Arfvedson. Lithium compounds are used to absorb carbon dioxide in space vehicles, dry cells and as drugs to treat maniac-depressive disorders. Lithium alloys are used in aircraft, and lithium is also used in nuclear applications and in the production of high strength glasses and ceramics.

Mercury (Hg)

Mercury is another ancient metal, and was known to the Chinese and Hindus before 000 B.C.E. It was named after the planet Mercury, and unfortunately for those who used it, was made into an ointment by the Greeks and used in cosmetics by the Egyptians. Today, it is used in thermometers, barometers, diffusion pumps, dental fillings, the making of caustic soda, chlorine, pesticides and antifouling paint, and the gaseous form of mercury is used in advertising signs.

Platinum (Pt)

Antonio de Ulloa discovered in platinum in 175, South America. This precious metal is extremely rare and resistant to corrosion. Platinum is commonly found in jewellery, wire and vessels in laboratories, electrical contacts, corrosion-resistant apparatus, dentistry, coating missile nose cones and jet engine fuel nozzles. A certain platinum compound is effective in treating some cancers, including leukemia.

Titanium (Ti)

Titanium was discovered in 171 by William Gregor. It is used in its alloy form in the aerospace industry, and in joint replacements, especially hip ball-and-socket joints. As it is very resistant, Titanium is commonly found in ship areas exposed to sea water, and is also used in paint.

Gold (Au)

Gold was both known and highly valued in ancient times. Egyptian inscriptions dating back to 600 B.C.E. describe gold, and it is mentioned several times in the Old Testament. It is the most malleable and ductile metal, and so it usually alloyed to give it strength. Gold's many uses include in coins, jewellery and decoration, electronics, plating, dentistry and photography.

Copper (Cu)

Copper is one of the oldest metals known, possibly because it is so easy to use. There are reports of copper beads in Iraq in 000 B.C.E. and by 4000 B.C.E., was being refined and used in pottery in North Africa. It is one of the best conductors of electricity, and its alloys, brass and bronze are very important. Other uses include wire, coinage metal, copper compounds used in water purification and analytical chemistry.

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Baking cookies

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How you bake cookie is you cook the

You tell me to take your shirt back to walmart, and I saidyou want me too (hoping that youll say, yes, if you dont mind, or will you?) but instead you say yes i do....well thats why i didnt take it back yet. It almost seems like your oblivious to whats going on. Like maybe you think i like be talked to like that. I dont know what it is, but when i get mad b/c of little things that happen, dont tell me its stupid for me to be mad, b/c you talk to me like im trash,and lower class from you. I hate it, right now i absolutely hate our relationship. The only way we dont fight, is if were not around eachother to fight, or if we just dont talk about what happened. Do you know, that i have been the one to re-kendle our friendship almost everytime we fight. I always feel bad afterwards, b/c we shouldnt fight, we have been friends for such a long time and we really do care about eachother, its stupid right, so then ill say something nice, for instance do you want to go get something to eat?...How was work today? anything to quit fighting. I mean i feel bad right now, im sorry for the things ive said....to a point. Because i think its about time you know what i think. Let me tell you something....a while ago...I used to have a lot of respect for you...i used to think highly of you...when we fought...i always thought you were right...b/c i was screwing up a lot...and i believed you..and i would appologize....but now...what am i doing wrong...i ask you to go places with me...and decline...then go with someone else.....i compliment you...i listen when you talk...i go with you places even when you say...oh...your going....you have no idea...if you wernt such a good friend to me and i didnt love you as much as i do....i wouldnt take stuff like that...and you know it! Id say I dont have to do anything...and i would rebel...but i dont....b/c then you would get mad and we would fight....it seems like im always thinking of what your response would be..intead of doing what i feel i want to do....when i talk...it seems like it goes through one ear and out the other...b/c youll be doing things at once...not looking at me...talking & listening...and i always sayare your listening dont I? Because you make me feel like you dont care...sometimes when i talk you dont even respond..its like

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The Significance of the Insignificance in Photos

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The Significance of the Insignificance in Photos

Upon examination of a photograph by Walker Evans and one by Jewel Stern, the viewer can easily see how the photographers use ordinary scenes to display the continuity and monotony of everyday life and the insignificance of the "little people."

"Building Facade," a 6 ¾" x 8 ½" gelatin silver print by Walker Evans, taken in 14, is a black and white photo of what appears at first glance to be just a picture of a building with some people in front of it going about their everyday business. The photo looks as if it was taken from across the street, as if Evans was in the third or fourth floor of another building. The shadowing in the photo makes the bottom right corner of the picture look really dark and the rest of the photo is semi-dark, with the focus of light being just left to the center of the photo, emphasizing a worker unloading a truck. Ironically, the area that the light is focused on is the only area of the photo that is blurry. Besides the worker, there are other people who are probably just pedestrians and shoppers. The bottom floor of the building is all stores and the rest of the building is just rows and rows of windows. The building looks dark and gloomy, towering over the people, casting a huge, dominating shadow on them. Although the photo looks as if it is just a random, true-to-life representation, a hidden meaning lies behind it'a meaning similar to the one behind "Tosca Bakery" by Jewel Stern.

"Tosca Bakery" is an 8" x 1" ecta-color type C print of a 18 bakery window. The photo looks as if it was taken from a position right in front of the window, with no focal point. But because it is picture of a window, the reflection from the glass makes the entire picture look blurry. At first, one might think that this is just a bad picture, but after speculation, one can see that Stern purposely wanted the picture to look blurry'that is why it is a photo of a window. Inside this window, like inside almost any bakery window, one can see different types of cakes on display on the bottom shelf. However, the viewer tends to notice the many rows of Looney Toons characters, directly above the cakes. Neatly lined up are numerous figurines of Sylvester, Bugs Bunny, Speedy Gonzalez, and various other well known characters from the cartoons. The browns, yellows, and similar earth colors of the characters' clothing stand out to capture the viewer's eye.

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Similar to "Building Facade," "Tosca Bakery" appears to be a simple photo of what people see in their ordinary, everyday lives'both scenes that anyone can see on any given day. However, a closer look at both photos reveals the artists' intentions at taking the photographs. When looking at "Building Facade," the viewer's eyes move in a direction from left to right, starting at the top left corner, and take in the continuous rows of window after window. Similarly, in "Tosca Bakery," the same type of row after row (this time of Looney Toons characters figurines) takes the viewer's eyes. Both artists seem to be depicting the monotony of life. By taking scenes that are already so common to everyday life and adding a touch of something so repetitive (the windows and figurines), the artists put an emphasis on the triviality and insignificance of life.

Unlike the "Tosca Bakery," "Building Facade" has people in the picture. These people are going out their daily activities, the shoppers in the shadows and the worker illuminated. However, they are tiny compared to the grandiose size of the building. The people are barely noticeable, taking up about a half inch of the picture in comparison to the building, which takes up the entire photograph. Evans could be trying to convey the idea that people are insignificant'since they look insignificant in this photo (even the title does not allude to the people). The worker, who is an important part of American society, is illuminated, making it seem as if he is important. However, his image appears blurred and obscure, which also contributes to the idea of insignificance. Therefore, one might interpret this effect to be saying that the job that one holds is trivial. People work for a living, to support their families so they can have a nice life, but if the work they do is trivial, then perhaps the reason why they work'life'is trivial also.

This same idea of triviality can also be seen in the "Tosca Bakery." The display in the window shows how commercial America is. A bakery is marketing toys for a known cartoon production. But shouldn't a bakery sell just baked goods? So why the unnecessary accessories? One might perceive this photo to be a representation of what a money market America has become. The United States has come to a day in age where places like car dealerships have to entice its customers by having live radio broadcasts and free food, and similarly, a bakery has to have toys to sell to bring in the little kids who will then ask mommy to buy some cookies. This form of marketing shows how the United States has become a place where the major concern is how to make more money; forget about the well-being of the people, just focus on more profits. And when businesses get that frame of mind, people like the worker and the shoppers (like those in Evans's "Building Facade") are the ones who get looked over, the insignificant, unimportant ones.

Although both photos differ in color, location, and time period, they both appear to be replications of seemingly insignificant aspects of life while actually conveying messages of seemingly high importance'the monotony of daily life (which is a result of the level of importance that is placed upon business and economy) and ultimately results in the insignificance of the people.

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Maya Angelou: Influence of her life in her writing.

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Maya Angelou's works were highly influenced by the instability of her childhood, her experiences as a mother, and the challenges of being an African American woman growing up in 0th century America. Angelou's major themes throughout her writing were inspired by the dream of overcoming the struggles that were ever-present in her life. Her struggles only made her into a stronger, independent woman who cares for people.

Maya Angelou was born April 4, 18, in St. Louis, Missouri, as Marguerite Johnson. When Angelou was about three years old her parents, Bailey Johnson, a naval dietician, and Vivian Johnson, sent Maya and her brother to live with their grandmother in Stamps, Arkansas. While Angelou was growing up in Stamps, she realized what it was like to be a little black girl in a world dominated by white people. Maya was conditioned to believe that white girls led better and easier lives than African American girls did. Regardless of the society and attitude surrounding Angelou's lifestyle, her grandmother instilled pride and confidence in Maya, which would help her and guide her for years to come.

After five years of being apart from their mother, Maya and her brother were sent back to St. Louis to live with her. The happiness surrounding the reunion with her mother quickly disappeared when Maya was raped by her mother's boyfriend at the age of eight. Following this traumatic incident, Maya did not speak for nearly five years. Maya's mother was unable to deal with the depressive state her daughter was in, so she sent Maya back to Stamps to live with her grandmother. Slowly, Angelou began to gain her pride and confidence back with the continuous help of her grandmother's close friend, Mrs. Flowers.

In 140, she was once again sent back to live with her mother, now living in San Francisco. Life with her mother proved to be too hard for Maya, so she ran away to live with her father and his girlfriend in his trailer. When Angelou realized life with her father was no better, she turned to living in a yard of old, beat up cars that served as houses for other homeless children. Maya did not go back to live with her mother for one month. Angelou's rough childhood caused her to believe she had to grow up quickly and she forced herself into maturity. Angelou became pregnant at the age of 16 and gave birth to her son, Guy.

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After the birth of her son, Maya lived an adventurous life filled with failed marriages, drug use, prostitution, and a journey to find a "home", a place to belong. Most importantly, however, was her incredible journey as a mother. Maya struggled to develop a relationship with her son throughout his life, because she was not around for parts of it. It was not until the early 160s that Maya began to write her awe-inspiring poetry and books. In her life Maya has been a waitress, actress, writer, dancer, activist, journalist, and teacher.

The difficulties Maya faced in her childhood forced her to put on a strong front. She became very independent because she was unable to rely on anyone in particular throughout most of her life, other than herself. The difficult life of Maya Angelou and her work are completely intertwined.

Maya's rough and eventful life made fine inspiration for her writing. Maya wrote a multivolume autobiographical narrative consisting of five books. These works are I Know Why the Caged Bird Sings, Gather Together in My Name, Singin' and Swingin' and Gettin Merry Like Christmas, The Heart of a Woman, and All God's Children Need Travelin' Shoes. Her autobiographical works went in order as to the events which occurred in her life.

The first volume and perhaps the most obviously autobiographical, is I Know Why the Caged Bird Sings. The name of this book was inspired by a poem written by Sir Lawrence Dunbar called "Sympathy." This volume covers Maya Angelou's childhood. The story follows a young girl, also named Maya, through her childhood up until the birth of her son, also named Guy.

In I Know Why the Caged Bird Sings, Maya deals with the difficulty of being a little black girl in a time when the world was dominated by white people. She expresses her realization of this white supremacy when she says "I was going to look like one of the sweet little white girls who were everybody's dream of what was right in the world"(Angelou 4). Along with dealing with this realization, she and her brother, Bailey, were sent away to a strange place by their parents, holding on to their identification tag, which said "To whom it may concern- that we were Marguerite and Bailey Johnson Jr., from Long Beach, California, en route to Stamps, Arkansas, c/o Mrs. Annie Henderson"(Angelou 6). Just as Angelou and her brother Bailey were sent to live with their grandmother in Stamps, so was Maya and her brother, also Bailey. After living in Stamps, Maya and her brother were sent to San Francisco to live with their mother. The book continues to reiterate Angelou's life until the birth of a son. Just as Angelou's childhood ended with the birth of her son, Guy, the volume ends with Maya's son.

The next volume of Angelou's autobiography is Gather Together in My Name. This volume covers the struggles of being a teenage mother and of being forced to grow up instantly. At the opening of Gather Together in My Name Maya is 17 and is the mother of a two month-old fatherless son. Maya introduces herself in the book by saying, "I was seventeen, very old, embarrassingly young, with a son of two months, and I still lived with my mother and stepfather"(Angelou ). In this line Maya expresses her embarrassment and discomfort of being a teenage mother.

Gather Together in My Name also explores Angelou's days of prostitution and heroin addiction. Angelou briefly worked as a prostitute for a pimp disguised as a love-struck gambler, and it was in that period of her life in which she became addicted to heroine. The most alarming mother-son incident in Gather Together… was when Maya left her son with a sitter while she went to work as a prostitute. When she returned for her son a few days later he had been kidnapped. Her son was finally returned to his mother, untouched, and it was then that she realized that her son was her responsibility and not just a "beautiful appendage of [herself]"(Angelou 16). From this point on, separation with her son became a recurring theme in her writing.

Gather Together In My Name closed with Guy and Maya returning to the safety of Maya's mother's house. Maya had experienced the horror of heroin addiction and she said, " I had no idea what I was going to make of my life, but I had given a promise and found my innocence. I swore I'd never lose it again"(Angelou 181). Maya was determined not to disappoint herself or her son ever again by lowering her standards of life.

The third volume in Angelou's autobiography is Singin' and Swingin' and Gettin Merry Like Christmas. This book is one of two transitional volumes on Maya's journey to self-acceptance. It covers about five years of Angelou's life from the ages of about to 7.

The main drama in Singin' and Swingin' and Gettin Merry Like Christmas is between Maya, the mother, and Maya, the actress. When Maya decides to leave her son with her mother to pursue her acting career, with the company of "Porgy and Bess," she chooses her career over her son, which caused a rift between the two later on. Angelou realizes that she is putting Guy in the same position she was put in as a child, when her mother left her to live with her grandmother.

The past revisited. My mother had left me with my grandmother for years and I knew the pain of parting. My mother, like me, had had her motivations, her needs. I did not relish visiting the same anguish on my son and she, years later, told me how painful our separation was to her. But I had to work and I had to be good. (Angelou 1)

The subject of parental abandonment was familiar to Maya Angelou. She too was sent to live with her mother and was abandoned by her mother. Singin' and Swingin' and Getting' Merry Like Christmas deals with a more serious emotional side of Angelou instead of just an autobiographical volume.

The fourth volume is The Heart of a Woman. This volume reveals Maya's experiences as a performer, activist, and journalist in the late 150s to early 160s. It treats Angelou's marriage, involvement with the civil rights movement, and once again her relationship with her son. It also touches on her own writing.

The main theme in The Heart of a Woman however was Maya's relationship with her son, Guy, and the similarities it had with her relationship with her mother. There was a point in the book, when Guy went to New York to live with his mother again, where it showed Guy's resistance to Angelou's attempts to make a family again. Maya discussed the tension between the two when she wrote, "'The air between us [Maya and Guy] was burdened with his aloof scorn. I understood him too well'"(Bloom 6). It hurt Maya to see what her son as he was because she understood what he was feeling.

In The Heart of a Woman, Maya travels a lot and she strengthens her public identity, becoming a coordinator in the civil rights movement and a professionally recognized dancer and actress. She also for the first time in her narratives, begins to talk about herself as a writer. "If I wanted to write, I had to be willing to develop a kind of concentration found mostly in people awaiting execution"(Bloom 186).

The Heart of a Woman ends with the separation of Maya and Guy once again. Guy, a student at the University of Ghana, is moving into a dormitory. " 'I closed the door and held my breath. Waiting for the wave of emotion to surge over me, knock me down, take my breath away' "(Bloom 186). Maya feared for her child to be on his own because she was scared when she had to grow up and go off in to the world.

The fifth and final volume of Angelou's narratives is All God's Children Need Travlin' Shoes. This volume picks up right where The Heart of a Woman left off. This book takes place primarily in Ghana and deals with her early attempts in the 160s to return to her ancestral home of Africa. Angelou dedicated the book to Julian Mayfield and Malcom X, who were also both passionately and earnestly in search of their symbolic home.

All God's Children Need Travelin' Shoes continues with the common theme of searching for a home, a place to belong. Maya wrote about her idea of home "We [Maya and Guy] had been each other's home and center for seventeen years. He could die if he wanted to and go off to wherever dead folks go, but I, I would be left without a home"(Bloom 05).

As a whole, All God's Children Need Travelin' Shoes recounts the events that brought Angelou to the realization and eventually the acceptance that there is and unreachable distance between Africans and ancestral Africans. Those events were similar to Angelou's own experiences in Ghana, trying to get in touch with her own heritage.

All God's Children Need Travelin' Shoes ended with Maya leaving Ghana. Maya not only leaves Ghana, but in doing so leaves Guy there to live his own life. Like the four previous narratives this on ended with a mother-son configuration.

In the end, Maya Angelou's works were highly influenced by the instability of her childhood, her experiences as a mother, and the challenges of being an African American woman growing up in 1th century America. Maya's life and work are so fully intertwined that throughout her five volume narratives she chronologically followed events, which occurred in her life, in the order in which they occurred. Most of the characters in the books also shared the same names as their real life counterparts.

Maya Angelou speaks numerous languages fluently, including French, Spanish, Italian, and West African Fanti. She has also traveled abroad to Europe, the Middle East, and Africa. She worked as a journalist and has been honored by the academic world, receiving the Yale University Fellowship Award, being names a Rockefeller Foundation Scholar in Italy, and has 1 honorary degrees at different colleges across the country. Maya is also a renowned professor of American Studies at Wake Forest University. Among some of her other accomplishments are, being named Woman of the Year in Communications, by the Ladies' Home Journal and nominations for the Pulitzer Prize and Tony Award.

Maya Angelou's incredible journey though life has inspired so many people through her writing. Her poetry and personal narratives are representatives of herself as an inspiration to all people, especially black women looking to survive sexism, racism, and/or bad childhoods. It has also made her a strong loving individual who accepts all people. In an interview Angelou said, "I am human and nothing human can be alien to me"(Schafer).

Works Cited

Angelou, Maya. All God's Children Need Travelin' Shoes. New York Vintage Books, 11.

Angelou, Maya. Gather Together In My Name. New York Bantam Books, 175.

Angelou, Maya. I Know Why the Caged Bird Sings. New York Bantam Books, 170.

"Angelou, Maya." Microsoft Encarta. Online Encyclopedia 00. Available http//encarta.msn.com. 11 February 00.

Angelou, Maya. Singin' and Swingin' and Gettin Merry Like Christmas. New York Bantam Books, 177.

Angelou, Maya. The Heart of a Woman. New York Bantam Books, 18.

Bloom, Harold editor. Modern Critical Views Maya Angelou. Philadelphia Chelsea House Publishers, 1.

Schafer, Nancy Imelda. "Empirezine." Online. Spyder's Poetry Empire. Available http//www.empirezine.com/spotlight/maya/maya1.htm. 10 February 00.

Williams, Nancy E. editor. Readings on Maya Angelou. California Greenhaven Press, 17.

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Mathematics

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Mathematics is an essential language used in science to quantitatively describe natural and social phenomena and to expand systematic thinking.

Faced with the increasing complexity of modern society, particularly in the 1st century, the scope of mathematical applications is being further extended to the processing, analysis, and preparation of diverse information. Therefore, capable mathematicians and research manpower well trained in mathematical thinking are in critical need, as the global competition in science and technology becomes more and more intense.

In response to such needs from the society, the Mathematics Department of POSTECH aims to foster teaching and research manpower capable of diverse mathematical applications, striking a harmonious balance between research and education as well as theory and practice.

Already popular with math educators, according to the Los Angeles Times, the new book, Knowing and Teaching Elementary Mathematics offers insight into the background that all mathematics teachers need to succeed. The author demonstrates the necessary profound understanding of mathematics through an in-depth analysis of Chinese and American elementary school teachers and their classroom teaching practices. The described differences and their implications tell an eye-opening story.

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The heart of the book analyzes a study that asked Chinese and American elementary mathematics teachers how they would handle a variety of exercises. Extreme differences in the results dramatize the Chinese versus the American learning environments and signal the need for reforms in teaching training. The book explores how Chinese teachers deep understanding of basic mathematics contributes to their students success, and it proposes that teachers in the U.S. have difficulty developing such understanding. The central message is that the quality of knowledge gained, for both teachers and students, is more important than its quantity.

This book may be of particular interest to teacher trainers and college faculty who teach mathematics to future teachers and future parents, according to its foreword by Lee Shulman, head of the Carnegie Foundation for the Advancement of Teaching. Knowing and Teaching Elementary Mathematics offers an intriguing view of teachers mathematical and pedagogical knowledge.

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is now on the creative edge of leadership again. In this innovative new book,

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An almost legendary civil rights organizer in Mississippi during the 160s,

now blazing trails in education, Bob Moses tells a powerful and compelling story,

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