She argues that the convergence of sexism and racism during slavery contributed to black women having the lowest status and worst conditions of any group in American society.

She argues that slavery allowed white society to stereotype white women as the pure goddess virgin and move black women to the seductive whore stereotype formerly placed on all women.

She argues that in order for women to be equally represented in the workplace, women must be portrayed as men are: as lacking sexual objectification.

She argues that Bacon's movement for the advancement of learning was closely connected with the German Rosicrucian movement, while Bacon's New Atlantis portrays a land ruled by Rosicrucians.

She argues that the legacy of Christian misogyny was consolidated by the so-called " Fathers " of the Church, like Tertullian, who thought a woman was not only " the gateway of the devil " but also " a temple built over a sewer.

She argues that they undertook their research using a novel and previously untested methodology in order to confirm a predetermined theory about the age of these structures.

She argues that symbolic work with these personal symbols or core images can be as useful as working with dream symbols in psychoanalysis or counseling.

She argues that subversion occurs through the enactment of an identity that is repeated in directions that go back and forth which then results in the displacement of the original goals of dominant forms of power.

She argues " The provision on the establishment of “ secure and recognized boundaries ” would have been meaningless if there had been an obligation to withdraw from all the territories.

She argues that a stage direction in A Shrew seems to indicate a part to be played by the minor actor Simon Jewell, who died in August 1592.

She argues that if Knack borrows from both The Shrew and A Shrew, it means The Shrew must have been on stage by mid-June 1592 at the latest, and again suggests a date of composition of somewhere in late 1591 / early 1592.

She argues unflinchingly with Creon about the morality of the edict and the morality of her actions.

She argues against the institution of slavery yet, at least initially, feels repulsed by the slaves as individuals.

She argues that the church is not an example of Jean Baudrillard's concept of hyperreality, arguing that " they create, rather than consume, popular culture in the practice of their spirituality ".

She argues that the youths ' agreement on the way the night's events unfolded proves that things occurred just as they say.

She argues with Destiny, declaring there is more to existence than what is in his book.

She argues that their intellectual debts to Locke are most evident when one looks at the 1865 debates in the Province of Canada ’ s legislature on whether or not union with the other British North American colonies would be desirable.

She argues that the later evidence suggests that:

She argues that wit is natural, whereas learning is artificial, and that, in her time, men have more opportunity to educate themselves than women do.

She argues that organizations and political bodies in the Mideast like Hamas and Hezbollah " have a greater interest in maintaining a state of hostility with Israel than in improving the lives of the people they claim to represent ".

She also argues that Eliade's theories have been able to accommodate " new data to which Eliade did not have access ".

She also argues that this is actually changing the nature of Fa ' afafines itself, and making it more ' homosexual.

" She argues that Dissenters deserve the same rights as any other men: " We claim it as men, we claim it as citizens, we claim it as good subjects.

She argues that Arthur was betrothed to Catherine of Aragon from the age of two: if he had been weak and sickly it would have been reported to Isabel of Castile and Ferdinand of Aragon, Catherine's parents.

* Glynis Johns personifies Desirée: She created the character on Broadway, and her interpretation highlights Desirée's regret and anger, for example, when she sings, " Isn't it rich?

She conceded, but with irritation and anger, according to contemporary reports.

She studied the correlation between anger expression and social influence perception.

She brakes the mirror in anger and it shatters into small pieces and falls to Earth.

She constitutes the polite interface with the local " personalities ", whose backward ways usually provoke Oliver to anger or petty frustration.

She was helpless, and the violence of her grief and anger soon changed to passive resistance, and then to a complete forbearance and complaisance which gained the king's regard and favor.

She is always there when Leo needs advice, a " better nature " to calm him down in anger, a shoulder to cry on, or a warrior at his side.

She is very assertive even for a woman of her times and prone to anger and jealousy, often beating up Slaine's other wives and concubines

She is also vain, at one point in addition to expressing anger that she was foiled by the Gummis, that she chipped one of her nails as well.

She acts against villains only when it seems that compromise is impossible, and even in these cases, fails to display actual anger.

She successfully stops Smith's execution, but Ratcliffe tries to shoot Chief Powhatan in anger with Smith taking the bullet.

She was the Member of Parliament ( MP ) for Redcar from 2001 to 2010, when she lost her seat to the Liberal Democrats with the highest swing against any Labour candidate anywhere in the country prompted by local anger over the closure of Teesside Steelworks.

She stood down as a Member of Parliament prior to the 2010 general election, as a result of public anger over her expenses claims.

She decides to go on a suicidal mission to rescue Archer, and reacts with anger when Tucker tries to stop her.

She vents her anger on interviewee, then falls asleep, and awakes to find Sam sitting opposite her.

She asserts that despite the expansion of the abilities of the European Financial Stability Facility, reassuring announcements and new austerity plans, Greece is sinking, social devastation is intensifying and the anger of the people bursts out.

She rarely loses her temper without severe provocation ( although when she does get angry this usually results in devastating if not fatal consequences for the object of her anger ).

She is manipulative and has wrapped Mrs. Brinks around her finger with constant praise and gifts, although Mrs. Brinks has had moments of anger with Nanette, such as the ending of the episode " Return to Sender " after learning the truth about being a pawn ( and " being un-French and uncouth "), giving her detention when Angela read an insult she wrote about Mrs. Brinks, and in the episode " Earhart's Heirloom " where she accidentally called Mrs. Brinks ' birthday " nothing ".

She claimed that she destroyed the paintings out of anger at her son, but police believe it was to destroy incriminating evidence against him.

She expressed anger that individuals implicated in the coup now held senior positions in the government and the diplomatic service.

She recalls how in the past she attempted to express her desire for sexual satisfaction to her husband which was met in return with denial and anger.

She is enraged and they begin to fight in his building, but their anger turns into passion.

She finds out locks him up in the Pit for months in anger, causing him to mutate into Clayface.

She has a hidden magic power, but it only emerges when she is moved to extreme anger.