<u>People were forced to house soldiers in their homes.</u>
The Third Amendment protects people's right to decide whether or not they house military personnel in their property during times of peace, meaning that people can not be forced to house them. The only exception is when the nation is in time of war and the order to house soldier has been prescribed by law. This Amendment is considered by many a law that indicates a preference for the civilian over the military.
Answer:
Scott's anaconda plan to destroy the southern economy
Explanation:
Scott did not believe that a quick victory was possible for Federal forces. He devised a long-term plan to defeat the Confederacy by occupying key terrain, such as the Mississippi River and key ports on the Atlantic Coast and the Gulf of Mexico, and then moving on Atlanta. This Anaconda Plan was derided in the press; however, in its broad outlines, it was the strategy the Union actually used, particularly in the Western Theater and in the successful naval blockade of Confederate ports. In 1864, it was continued by General Ulysses S. Grant and executed by General William Tecumseh Sherman in his Atlanta Campaign and March to the Sea
Answer:
yes
Explanation:
The UDHR or Universal Declaration of Human rights had the trigger for its codification in the aftermath of the Second World War, as a way for states all over the world to collectively avoid such atrocities and for suffering on a global scale from ever happening again. So yes
Answer:
Langston Hughes was one of the most prolific writers of Harlem Renaissance era. Hughes’s works are best known for the sense of black pride they convey and Hughes’s implantation of jazz into his poetry. In 1926, Hughes wrote the critically acclaimed essay, “The Negro Artist and the Racial Mountain” for The Nation magazine. In this essay, Hughes scolds artists who shy away from their racial identity to satisfy fearful Negros and white audiences. Hughes’s message to white audiences recognizes their interest in black art for means of stereotypical entertainment. Some of Hughes’s most powerful poems, including “I, Too” and “Freedom,” serve as keen evidence of the blasphemous behavior of Negro artists and white audiences of his time.In “The Negro Artist and the Racial Mountain,” Hughes speaks of a young Negro poet who has proclaimed he does not want to be an African-American poet, but instead, just a poet. Hughes associates this comment with the Negro poet meaning he would rather be a white poet and a whiter person. Nina Baym cites the evidence of Hughes’s outspoken protest on this matter, stating, “Early and late, Hughes’s poems demanded that African Americans be acknowledged as owners of the culture they gave to the United States and as fully enfranchised American citizens” (Baym 2027).
Explanation:
B probably, I’m sure that’s the most weak one.