Motherless Child

The song is an expression of pain and despair as the singer compares their hopelessness to that of a child who has been torn from their parents. Under one interpretation, the repetition of the word "sometimes" offers a measure of hope, as it suggests that at least "sometimes" the singer does not feel like a motherless child.[4]

Motherless Child

Download File: https://www.google.com/url?q=https%3A%2F%2Ftweeat.com%2F2uieJ1&sa=D&sntz=1&usg=AOvVaw3GzgCjbm3mXLM8oQZ-8FmP

When enslaved African Americans before the Civil War were singing this song, why do you think they felt like motherless children? Did they mean this literally, figuratively, or both? Where was "home"?

This article argues that it is wrong to charge battered mothers with child abuse or neglect when the alleged wrong is failing to protect a child from witnessing domestic violence. Part II examines the consequences of a child witnessing parental violence. Part III explains why pursuing women for failure to protect is an offensive policy. Part IV analyzes pertinent statutory and case law, including an examination of Nicholson v. Williams. Part V concludes with recommendations for holding the batterer accountable without sacrificing either the battered mother or her children.

With the increasing prevalence of HIV infection and the high maternal mortality, orphans are a rapidly growing problem in Africa. However, few studies describe the social conditions of these children. Our study focuses on motherless children in urban and rural areas of Guinea-Bissau. A rural and an urban cohort of children (128 and 192, respectively) that had been followed by demographic surveillance since 1990 were identified and the relatives of these children interviewed. A control cohort of 808 individuals was also identified. Although orphan children remained disadvantaged, there were few differences between surviving motherless and control children in nutritional status, use of health care services, school attendance, quality of housing, and clothing. Motherless children moved more frequently and were more likely to live in small families, often with an older grandmother. The traditional extended family system appears to be capable of handling motherless children in a non-discriminatory fashion. However, the AIDS epidemic will continue to stress the extended family system and social services to the limit.

Abstract: Many twentieth-century Southern works feature at least one dead, absent, or incapacitated mother, leaving the child vulnerable but also helping him or her develop maturity and strength. Generally, though, this literature is full of lost children who grow up to be lost adults. The loss of the mother in Southern literature is more than a plot device or an appeal for pity; the absent mother in Southern fiction represents the loss of the motherland. For white Southerners, the motherland is the antebellum South, in which one knew one's place. The New South is uncertain, like a child without a mother and, consequently, without an identity. White Southern women writers such as Porter, McCullers, Welty, O'Connor, and Alther often use the absent mother to represent freedom from the patriarchy of the Old South. Reynolds Price does so, as well. Generally, however, white men who write in the South, such as Faulkner, Warren, Price, Ehle, and Tate, mourn the loss of the mother and the motherland, as white men lose their identity and power.

The song has its origins in the days of slavery, when children were separated from their parents upon being sold. Over the decades it became an African American gospel-blues standard, recorded by such luminaries as Louis Armstrong, Mahalia Jackson and Paul Robeson. It became adopted by the folk music scene during the civil rights movement, with high-profile covers by Harry Belafonte, Odetta, Pete Seeger and Peter, Paul & Mary. The "Gospel Medley" of Elvis Presley's 1968 Comeback Special began with Darlene Love singing it, and Richie Havens worked it into "Freedom" from his opening set at Woodstock.

This book tells the unforgettable story of a young girl who was left motherless at a young age and was subjected to three years of physical and verbal abuse at the hands of her grandmother as she struggled with her spirituality and reality.

Katrina takes part actively in her church. She is a grandmother to three adorable grandkids and a mother to four children. She just recently got married. She has spent the last six years working in the public education system, which she enjoys.

She had always been very interested in writing ever since she was a child since it enabled her to express herself. She has a lot to be thankful for, thanks to her writing. She found that writing helped her immensely in getting over her struggles and also led to self-discovery. She writes fiction based on her own experiences. Currently, Katrina is finishing her second book, which will be published shortly. 041b061a72