Im pretty sure it was suffragists because it was the womens suffrage that gave them the right to vote
The best answer in that set would seem to be "compromise." I'm not sure I'd use exactly that term, but it's the best term from the set of answers given. Count Camillo di Cavour was prime minister of the Kingdom of Sardinia, serving under King Victor Emmanuel II. This was a time in history (in the 19th century) when prime ministers were starting to exercise more control of policy than the kings themselves. It was also a time of something that came to be known a "Realpolitik" (a German term), or "realistic politics." So I'd say Cavour was a political realist who chose paths of action that would benefit his overall aims, whether or not they fit some specific ideology or master plan. I suppose "compromise" would be another way of saying that, but I'd prefer to say he practiced political realism.
Answer:
The Mormons.
Explanation:
The Mormons traveled the Mormon trail which was approximately 2,000 miles long. The walked this trail in hopes to find areas to build new homes and create a community for themselves.
I hope this helps! :)
I believe the answer is: Gaining control of Paris and forcing a change in the monarchy.
The revolutionaries planned to do this by eliminating Charles X , (who succeeded king louis after he was executed by his own people) . Eliminating Charles X from the government marked the end of monarch system in France, and changed it to popular sovereignty. Leaders of france was elected through democratic election after this event.
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:
