The fear of not being believed , if there are no witnesses , is a major reason in the case of sexual assault.
<span>Together with a feeling of shame and/or fear of reprisal by the offender. </span>
<span>Defence of such charges (against adult victims) usually argues the sexual encounter was consensual, or seeks to prove the victim is someone of loose morals and/or went further than intended - or the charge is totally false/malicious. </span>
<span>It's often difficult to prove 'guilt beyond all reasonable doubt' and many victims simply prefer to avoid the publicity and possible denigration of their character. </span>
<span>As regards domestic violence - the young will often be under threat of even more violence if they report the abuse - as can apply to adults, particularly females who might actually still 'love' the perpetrator, despite the violence - which will often result from a drink or drug problem, the bully expressing 'remorse' and promise not to do it again. </span>
<span>Until the next time, etc.</span>
Answer:
“Tony cooked dinner and I made the salad, but Mike just ate.”
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Answer:
Personal style became another creative outlet for Kahlo, who began painting during her recovery from the bus accident. The purpose of her clothing choices fell two-fold after the collision: to effectively conceal her physical disability, and to showcase her radical political beliefs. Kahlo started wearing her own interpretation of traditional Tehuana dress: full skirts, embroidered blouses and regal coiffure associated with a matriarchal society from the Isthmus of Tehuantepec in Oaxaca, Mexico. ... The long flowing skirts covered her wasted leg, and their motion helped conceal her limp. Often wearing flowers and using them in her paintings as a celebration of her national heritage, their symbolism of fertility and fecundity was also pertinent to Kahlo who was unable to have children herself as a result of the accident in her teenage years. Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her use of bright colors and dramatic symbolism. She frequently included the symbolic monkey. ... She combined elements of the classic religious Mexican tradition with surrealist renderings.
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