Answer:
What you made a mistake on your writing, I can't process :////
Answer:
The vast majority of labor was unpaid. The only enslaved person at Monticello who received something approximating a wage was George Granger, Sr., who was paid $65 a year (about half the wage of a white overseer) when he served as Monticello overseer.Life expectancy was short, on many plantations only 7-9 years.Industrial slaves worked twelve hours per day, six days per week. The only breaks they received were for a short lunch during the day, and Sunday or the occasional holiday during the week.Fearing that black literacy would prove a threat to the slave system -- which relied on slaves' dependence on masters -- whites in many colonies instituted laws forbidding slaves to learn to read or write and making it a crime for others to teach them.However, the health of plantation slaves was far worse than that of whites. Unsanitary conditions, inadequate nutrition and unrelenting hard labor made slaves highly susceptible to disease. Illnesses were generally not treated adequately, and slaves were often forced to work even when sick.Slaves were punished by whipping, shackling, beating, mutilation, branding, and/or imprisonment. Punishment was most often meted out in response to disobedience or perceived infractions, but masters or overseers sometimes abused slaves to assert dominance.
I would say the answer is three (not 100% sure tho). It's definitely not 2 or 1
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.
