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The use of silence was a tool that disempowered women in the palace by not allowing them to speak about what was happening to them in their life. If they were forced into a behavior they did not want, they were expected to remain silent about the situation. If they were sick, they bore their pain in silence. The women knew what was going on in the palace, but were not allowed to talk to anyone about what they knew. If the woman was not married, the name of the father of any children was never uttered (Tlatti, 1994). The women were considered household slaves and were not allowed to leave the house, were expected to cook, clean, and perform any other duties, as requested by the family, without saying a word. They talked among themselves, but even that conversation was limited. Each woman had to bare her own burden in silence. The only way this silence could have been used to empower the women is if they would have been able to communicate with the outside world and then the family would have had to pay them to keep quiet about the affairs of the palace.
Sexual violence was included in the lives of these women, but none of them were allowed to have a voice in the situation. The women were not allowed to refuse, they could fight back until they were over powered, but the act would still take place if the man wanted it to happen (Tlatti, 1994). None of the other women were allowed to come to the aid of anyone being forced and the harm that was caused was not discussed by the victim. If medical attention was needed, a nurse was summoned. Demanding that a woman have an abortion is just as violent and results in death as other violent acts that can and have been performed on people in society. Making sure the slave/servant women remained in the home at all cost required that all births happened without any medical intervention (Tlatti, 1994). This could also be considered a form
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Mphande describes oral art forms as the “best examples of the African imaginative expression” (“AOL” 70). African oral traditions are in the forms of songs, folktales, myths, praise poetry, epics, and legends. One of the most famous epics in African tradition is Sundiata, an Epic of Old Mali.
Despite having been produced many years ago, both movies still remain as relevant and captivating today as they were when they first came out. Citizen Kane, produced in 1941, was directed by Orson Welles, while The Night of the Hunter was produced in 1955 and directed by Charles Laughton (Murch 15).
By 1807 slave trade was banned and by 1833 slavery was banned all across the UK. Shortage of labour in UK after the Second World War prompted the Government to encourage immigration. June 22nd 1948 was a red letter for the British Empire. Hundreds of working hands were brought in from the West Indies to fill the labour shortages and this day marked the beginning of the arrival of a mass of people from different cultures into Britain.
ike Kirtan, Bhajan and Ragas, and other than that the Indian films music usually known as Bollywood music also, which has got a very specialized genre. The specialty of this music and Bollywood movies also include that they get more recognition and prosperity, and easily make
Rather, we witness hilarious actors who fight and still love together. When Maria Tura and her husband become overly angry at one another, we still cannot help, but laugh (Hake 18). The Great Dictator,
Although freedom was largely desired by everybody, it came with both positive and negative effects.
Ending slavery meant that African Americans could not be forced to move to different parts to work therefore ensuring family unity unlike during slavery
The theme of mistaken identity is closely intertwined with suspense, a factor that makes the audience remain interested in the story. Every viewer would want to know what happens in the end. The film centers of Roger Thornhill, who accidentally answers to the name
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