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The women were dominated by the older men. They lived at their husband's residence, married ten years earlier than the men, lacked solidarity, developed little leadership, and had no kinsmen to protect their interests. Missionaries reported adultery, divorce, litigation, and marital instability to be widespread.
In mainland China and Taiwan, Japan, and Korea, the number 4 is often associated with death because the sound of the Chinese, Japanese, and Korean words for four and death are similar (for example, the sound sì in Chinese is the Sino-Korean number 4 (四), whereas sǐ is the word for death (死), and in Japanese "shi" is the number 4, whereas ...
American historians, in the years that followed the publication of Western Attitudes Toward Death, became particularly interested in the deviation Ariès noted between Americans and Europeans. [33] David Stannard, an early reviewer of Ariès's work, penned The Puritan Way of Death a few short years after Ariès's publication. He maintained that ...
The Lester attitude death scale was developed in 1966 but not published until 1991 until its validity was established. [80] By measuring the general attitude towards death and also the inconsistencies with death attitudes, participants are scaled to their favorable value towards death. [80]
The DRC is a source and destination country for men, women, and children subjected to trafficking in persons, specifically conditions of forced labor and forced prostitution. The majority of this trafficking is internal, and much of it is perpetrated by armed groups and government forces outside government control within the DRC's unstable ...
An important contributing factor to the violence exercised on women in the Arab world is the idea of ta’ah (obedience). It is a religio-cultural idea which suggests that women and men are equal before God, however, their responsibilities are not the same. In addition, ta’ah justifies men’s physical abuse over women.
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In film, the female body is depicted in different states of dress and portrayed differently depending on the age of the actress. Their clothing is used as an identity marker of the character. Young women are put into revealing and sexy costumes whereas older women often play the part of a mother or grandmother clad in a bonnet or apron. [104]