Make them more religious and would relate to their family
The anwer is a because u can clearly see the rest are effect of he spanish colonies
By recognizing the independence of Kosovo, President George
W. Bush was exercising the power of the president to recognize FOREIGN
GOVERNMENTS. As the Chief Diplomat of the country, the president of the United
States has the power to give recognition to foreign governments.
A "culture boundary" is actually a word used in human geography, whereas a "political boundary" is an arbitrary line dividing one political unit.
A political boundary is a hypothetical line that divides one political unit, like a nation or state, from another. These can occasionally line up with a river or other natural geographic feature to form a boundary or other barrier between nations. Political lines frequently develop along borders between nations or states. As an illustration, the Alps divide France from Italy, while the Pyrenees form the border between France and Spain.
In reality, anthropology and human geography already use the phrase "cultural barrier." It is typically used to indicate a geographical area where a population of people shares similar cultural traits, such as language, religion, and traditions.
To learn more about Political Boundaries refer to:
brainly.com/question/1802615
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Answer: “Birth of a Nation”—D. W. Griffith’s disgustingly racist yet titanically original 1915 feature—back to the fore. The movie, set mainly in a South Carolina town before and after the Civil War, depicts slavery in a halcyon light, presents blacks as good for little but subservient labor, and shows them, during Reconstruction, to have been goaded by the Radical Republicans into asserting an abusive dominion over Southern whites. It depicts freedmen as interested, above all, in intermarriage, indulging in legally sanctioned excess and vengeful violence mainly to coerce white women into sexual relations. It shows Southern whites forming the Ku Klux Klan to defend themselves against such abominations and to spur the “Aryan” cause overall. The movie asserts that the white-sheet-clad death squad served justice summarily and that, by denying blacks the right to vote and keeping them generally apart and subordinate, it restored order and civilization to the South.
“Birth of a Nation,” which runs more than three hours, was sold as a sensation and became one; it was shown at gala screenings, with expensive tickets. It was also the subject of protest by civil-rights organizations and critiques by clergymen and editorialists, and for good reason: “Birth of a Nation” proved horrifically effective at sparking violence against blacks in many cities. Given these circumstances, it’s hard to understand why Griffith’s film merits anything but a place in the dustbin of history, as an abomination worthy solely of autopsy in the study of social and aesthetic pathology.
