Instruct: Given a question, retrieve passages that can help answer the question.
Query: What is significant about James the Less?
James the Less could also be identified as being James the brother of Jesus (James the Just). Jerome also concluded that James "the brother of the Lord" is the same as James the Less. To explain this, Jerome first tells that James the Less must be identified with James, the son of Alphaeus.[9] After that, James the Less being the same as James, the son of Alphaeus, Jerome describes in his work called De Viris Illustribus that James "the brother of the Lord" is the same as James, son of Alphaeus:
What is especially significant about the Revolution is that, for the first time in Republican history, the State attempted to incorporate into national life the Aymara and Quechua peasants that together constituted no less than 65 percent of the total population. Although the policies pursued by the MNR were largely corporatist and assimilationist, it marked a significant turning point in Bolivia's contested history of indigenous-state relations. Following the 1952 revolution, the Bolivian state sought to strengthen its role in rural areas, implementing an extensive public health campaign that specifically included indigenous Bolivians.
Ben confronts Luke with what he has been told and Luke tells Ben that James wants to meet him. Ben takes a hammer when he meets James and without Luke's presence, Ben threatens James, but James insists to Ben that he and Kathy were having an affair and she consented. As Ben about to attacks James, Luke rush in and pulls Ben off James, who tells Ben he knows he doesn't trust or believe Kathy. Kathy decides to leave Walford, especially when she finds out Ben met James, but Kathy opts to remain and gives Ben's relationship with Luke her blessing. However before they get back together, Luke ends the relationship when Ben discovers Project Dagmar that Luke is secretly working on, which reveals that it will change Albert Square with a block of flats that is to replace The Queen Vic. Kathy and Ian are shocked when James, his brother-in-law Hugo Browning (Simon Williams) and Luke arrive at Albert Square to serve the Carters with an eviction notice. Kathy is angry with Ian when Luke reveals Weyland owns the café. Kathy confronts Fi over what James did to her and about all the women James has destroyed, including her own mother. Kathy refuses to go into work and when she spills some hot food, Ian catches her making her hands sore through cleaning and Kathy breaks down to Ian, admitting she has not overcome what James has done to her. Ian arranges to meet James and tapes their conversation, where James initially tells Ian that he and Kathy loved each other, but he admits to raping Kathy. James deletes the recording when Ian is restrained and when Fi comes to realise what James is like, Fi asks Kathy about the rape and her version causes Fi to be physically sick. When James shows Fi documents that could ruin him, Fi says she believes he did rape Kathy and when James goes to see Kathy, Kathy pretends to accept his idea of them being together, but she grabs him by the genitals and stands up for herself. Fi later disowns James and gives Kathy back the café before leaving.
The inconsistency between Murrawarri's land claim and the claimed land's true area has been specifically examined in a study published by "Indigenous Policy Journal", which confirms that Murrawarri's true area is about , less than one third of what is officially claimed. The study also concluded that "the proclamation of the Republic of Murrawarri is currently exerting a significant influence over similar contexts in Australia", thus reinforcing the debate on Aboriginal sovereignty.
A more detailed description by Hertzberger is published in 1973. It is a structuralist definition in a general sense, but also the basis concept for user participation: ""The fact that we put 'form' in a central position with respect to such notions as 'space' or 'architecture', means in itself no more than a shifting of accent. What we are talking about is in fact another notion of form than that, which premises a formal and unchanging relationship between object and viewer, and maintains this. It is not an outward form wrapped around the object that matters to us, but form in the sense of inbuilt capacity and potential vehicle of significance. Form can be filled-in with significance, but can also be deprived of it again, depending on the use that's made of it, through the values we attach to, or add to it, or which we even deprive it of, - all this dependent on the way in which the users and the form react to, and play on each other. The case we want to put is, that it is this capacity to absorb, carry and convey significance that defines what form can bring about in the users - and conversely - what the users can bring about in the form. What matters is the interaction of form and users, what they convey to each other and bring about in each other, and how they mutually take possession of each other. What we have to aim for, is, to form the material (of the things we make) in such a way that - as well as answering to the function in the narrower sense - it will be suitable for more purposes. And thus, it will be able to play as many roles as possible in the service of the various, individual users, - so that everyone will then be able to react to it for himself, interpreting it in his own way, annexing it to his familiar environment, to which it will then make a contribution."" p. 56
Knox's letters and diaries provide the primary sources for much of the daily activity in this journey. His description is detailed for some of the events and dates, but there are also significant gaps, and significant portions of the journey are poorly documented, especially much of the Massachusetts section. Some of these gaps occur because Knox did not write about them, and others because pages are missing from the diary. Other sources confirm some of Knox's details or report additional details, but parts of the route are not known with certainty, and modern descriptions of those parts are based on what is known about Massachusetts roads at the time, including the placement of markers for the Henry Knox Trail. In any case, the route was more or less in the corridor of today's Massachusetts Turnpike (Interstate 90).
In essence, Vatz claims that the definitive elements of rhetorical efforts are the struggle to create for a chosen audience saliences or agendas, and this creation is then followed by the struggle to infuse the selected situation or facts with meaning or significance. What are we persuaded to talk about? What are we persuaded it means or signifies? These questions are prior to: What does the situation make us talk about? or, What does it intrinsically mean?
In the early part of 2015, James disclosed he was diagnosed HIV positive in his mid-20s. James stated: "I formed a major complex about what people would think of me. I kept it a deep dark secret to everyone except the trusted few." Regarding the response to this news, he stated "It was liberating actually, and I was shocked to see that people took it a lot less harsh than I ever anticipated." James had planned to go public about being HIV positive when he competed on America's Got Talent in 2013 but his partner at the time was afraid of the backlash.
Raymond Mortimer, writing for "The Sunday Times", said that "James Bond is what every man would like to be, and what every woman would like between her sheets"; meanwhile the critic for "The Times" considered that after "The Spy Who Loved Me", ""On Her Majesty's Secret Service" constitutes a substantial, if not quite a complete, recovery." In the view of the reviewer, it was enough of a recovery for them to point out that "it is time, perhaps, to forget the much exaggerated things which have been said about sex, sadism and snobbery, and return to the simple, indisputable fact that Mr. Fleming is a most compelling story-teller." Marghanita Laski, writing in "The Times Literary Supplement" thought that "the new James Bond we've been meeting of late [is] somehow gentler, more sentimental, less "dirty"." However, she considered that "it really is time to stop treating Ian Fleming as a Significant Portent, and to accept him as a good, if rather vulgar thriller-writer, well suited to his times and to us his readers."
As Graham goes through the extended vetting process to be an adoptive parent, He then has to attend classes and meet regularly with social workers. Graham and James meet and the embarrassed silences demonstrate Graham's nervousness and James's fears of the situation. Graham is not sure how to behave, nor what to say, due to being nervous. He talks about wanting a son, and suggests what James needs, ungracefully saying that James need a father, but stammering on the what James needs is that special someone to look after his needs.
What follows is the academic research of what facts are truly known about James Mink, his family and this story.
Wilson also notes that the Book of Acts represents an influential work of historical revisionism, noting that it is the one work of the Bible that we can compare to something else to judge accuracy. In this case, we can compare what Paul says about himself with what the unknown author of the Book of Acts says about him. The former represents the Paul of history, the latter the mythologized Paul. The discrepancies between the two are significant as the author of Acts tries to downplay the enmity that existed between Paul and James.
Later at Steven's memorial, once Kathy and Ian are walking away, a man leaves flowers for Kathy. The man is revealed to be James and that Fi Browning (Lisa Faulkner), Luke Browning (Adam Astill) and Josh Hemmings (Eddie Eyre) are his children. On Halloween, Michelle tells Kathy about her stalker, Tom Bailey (Daniel Casey) and she and Michelle give relationship advice to Shakil Kazemi (Shaheen Jafargholi) about Bex. When Kathy shuts up the café, she is startled when James comes in. As James acts casual, Kathy takes hold of a knife and James tells Kathy he has been diagnosed with terminal liver cancer. Kathy rubbishes James' beliefs that they are alike and James says the reason for his visit is to move on from the past. Kathy wants James to explain truthfully what happened on the night of the rape, but when he refuses to do so, Kathy retells it, demanding to know when he decided to rape her and she realises that James chose to rape her when he locked up The Dagmar. Kathy tells James that he has scared her that night like the night he raped her, but James, still in denial, refuses to apologise for the rape and he leaves Kathy his address. Kathy confides in Ian that James is back and Ian contacts Phil about James. Phil finds out that Ben's boyfriend is James' son. Phil tells Kathy that Luke is James' son and Phil fails to warn Luke away from Ben. Ben is angry with what Phil did and when Kathy tries to get Ben and Phil to make up, Kathy tells Ben that Phil was protecting him as James raped her. After struggling to process what he is told, Ben is determined to hurt James, but Kathy orders Ben to keep out of it as it happened to her and not him.
The problem of under-reporting to police is believed to be substantial. However, estimates about how much domestic violence is not reported vary widely. It must also be remembered that a significant amount of non-domestic violence crime is also not reported to police. Depending on what statistics are chosen, anywhere between a tenth of incidents and nothing significantly less than what would be expected for any other incident are reported to police.
Baldwin said he "always wanted to do a movie that required what I consider to be movie acting, which is that it's not what you do, but what you don't do. It's all about small, and less and less. An action film is a perfect opportunity for that. There's always a steady flow of action films – it's the most mined material – but what distinguishes an action movie is the acting."
James's obsession to meet the man who has purportedly cuckolded him––suggesting archetypal symbolic significance in Pinter's choice of his surname (Horne)–– and to confront him with "the truth" culminates in a "mock duel" with household knives (72–73), in which Bill is scarred. Harry then intervenes and relates to James Stella's alleged admission that she has invented the whole story and the two never really met (in fact, what she has told him is that "James" was the one who "dreamed it up"). Bill confirms that nothing happened, and Harry viciously chastises him, calling him a "slum slug" with a "slum mind" and claiming that he "confirms stupid sordid little stories just to amuse himself, while everyone else has to run round in circles to get to the root of the matter and smooth the whole thing out". (78) As James is about to leave, Bill suddenly changes his story for the last time and tells James: "we sat ... in the lounge, on a sofa for two hours ... talked we talked about it ... we didn't move from the lounge never went to her room ... just talked about what we would do ... if we did get to her room two hours ... we never touched ... we just talked about it." James then goes back home and confronts his wife with this final version of "the truth"––
In 1995 Papetti met the writer and biographer James Lord who wrote a significant critical essay on his work. James Lord wrote the following about Papetti: “The first, and perhaps the most illuminating thing to be said about the art of Alessandro Papetti is that it is profoundly Italian. No artist of course ever successfully conceals his national, traditional and psychological origins, though some are more prone to do so than others. One thinks of Van Gogh. But not Papetti. It is not his subject matter that evokes the homeland. In this he is truly international, and entirely his own era despite seeming reminiscences of styles of the past. These are resemblances only. What is Italian about Papetti is his masterly self-effacement in confrontation with the subject matter. As a person he never gets in the way of what the artist is doing. The art is there, and he is the innocent perpetrator of what his hand instructs him to do, he sees, to be sure, what he is doing, but when he is working none of what he sees is visible to the spectator. We see the art. He sees the creation. In this symbiosis dwells the joy – that is, the truth – of aesthetic gratification."
"Our interpretations reveal less about God or the Bible than they do about ourselves. They reveal what we want to defend, what we want to attack, what we want to ignore, what we're unwilling to question..." ("A New Kind of Christian", 50)
"The American" generally flows well and is easily accessible to today's reader, more so than some of James's later novels. Newman's friendship with Valentin de Bellegarde is particularly well drawn, and the descriptions of upper-class Parisian life are vivid. The modern reader may be somewhat taken aback, however, that in a lengthy novel primarily about courtship and marriage, James totally ignores the theme of sexual attraction. Newman seems to see Claire de Cintre only in terms of her elegance and suitability as a consort for a rich and accomplished man like himself. As for Claire, we learn nothing about what transpired between her and her first (much older) husband, nor is anything significant revealed about her feelings for Newman. Only the mercenary Mademoiselle Nioche is presented as a sexual being, and this only in the most oblique and negative terms. Even by Victorian standards, James's reticence on sexual matters is striking.
Although Withermore and Ashton were best friends, the presence did not leave off good a feeling. In fact, Withermore got this negative feeling while he was writing about Ashton. Withermore wanted to let Mrs.Doyne know that maybe we shouldn’t do what we are doing we shouldn’t just lay out his life in front of this world letting everyone know about him. Withermore is not satisfied with what he is doing. At the end Withermore finally tells Mrs.Doyne to end the completion of the biography. Mrs.Doyne still doesn’t want to give up on writing about his life but finally agrees with Withermore to bring an end in writing his biography.In Telotte's article "The Right Way With Reality," the significance of the supernatural is an important element to note in discussing “The Real Right Thing” by Henry James. The ghost of Ashton Doyne is ambiguous in appearance. Therefore, Tolette notes that the “significance of this distinction, and thus of the haunting and problematic vision it notes, rests, on the one hand, in its reminder of the many similar “ghosts that haunt James’s short fiction in his later period, and, on the other, in its pointed parallel to another problem of removed perception that dominates this story-- Withermore’s attempt to write Doyne’s biography, to reconstruct a life from the paper trail a man has left behind.In the conjunction of the modes of approaching reality , which this supposedly supernatural vision and the act of writing imply, we might discern not only a basic tension informing this story, but also a larger concert with presences and absences and a desire-- common to both readers and writers—to close the gap between the two, for it is a gap that informs much of James’s fiction and gives the reason to his recurrent “ghosts.”
At the time of its construction it was the largest dam in the world, and it remains one of the significant landmarks defining the city to which its creation gave birth. It was so significant to the city at the time, a celebration was held in honor of its semi-centennial in 1895, yet now may be less celebrated, as at the site of the dam there is no viewing platform, monument or historical marker giving passersby information about the historical innovation and social marvel beneath their feet. The Lawrence History Center (located in what were the offices of the Essex Company) has significant displays on the dam and its creation.
"With this test, as promised, Chief Justice Antonio Lamer has now told us what Aboriginal means. Aboriginal is retrospective. It is about what was, 'once upon a time,' central to the survival of a community, not necessarily about what is central, significant, and distinctive to the survival of these communities today. His test has the potential to reinforce troubling stereotypes about Indians."
The is–ought problem, as articulated by the Scottish philosopher and historian David Hume (1711–76), states that many writers make claims about what "ought" to be, based on statements about what "is". Hume found that there seems to be a significant difference between positive statements (about what is) and prescriptive or normative statements (about what ought to be), and that it is not obvious how one can coherently move from descriptive statements to prescriptive ones. The is–ought problem is also known as Hume's law, Hume's guillotine or fact–value gap.
James had several unique experiences while living with the Smith family in Nauvoo. She recorded that often, as she went about doing the washing and cleaning for the Smiths, either Emma (Joseph's wife) or Lucy (Joseph's mother) would stop her and talk with her. One day while James was in Joseph's mother's room, the woman told her to "bring me that bundle from the bureau and sit down here." According to Jane, she was shown the Urim and Thummim, the tools used by Joseph Smith to translate the Book of Mormon. Lucy then said to her, "You will live long after I am dead and gone and you can tell the Latter-day Saints that you was permitted to handle the Urim and Thummim". Another time, Emma asked James if she would like to be adopted by and sealed to her and Joseph. Not understanding at the time, James said nothing. Emma encouraged her to think about it. Two weeks later, she asked James again, at which time she said "no m'am". James would say later that she did not understand what that meant, or she would have taken the couple up on their offer. This early decision had a significant impact on James's later life as a member of the Latter Day Saint church.
This prevented the Jacobites from assembling significant forces for the 1690 campaign; in March, Buchan and Lochiel wrote to James requesting money, weapons plus 4,000 foot and 1,000 cavalry led by James' illegitimate son the Duke of Berwick. Resupply on this scale was unrealistic while the request for so substantial a figure as Berwick reflected the lack of support from senior Scottish regional magnates. Buchan raised about 1,200 men but this was soon reduced to less than 700 and on 1 May 1690 his forces were taken by surprise and scattered at the Battle of Cromdale.