Klout was acquired by Lithium in 2014, which is one of those digital marketing companies that has a frustratingly inexplicit About page.
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JFL's history of inexplicit and explicit lack of support for survivors of sexual violence was revealed to Mausner via a Facebook post that emboldened her to act.
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Although much of the film proceeds in chronological order, there's almost no biographical back story; the long-shrouded relationship between Cunningham and the composer John Cage is delicately (and moving) presented in a single exchange of inexplicit letters.
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For while the voice of Lucia is funnier, sharper and more poetic than the deliberately flat and inexplicit prose of his previous books, and the American landscape he depicts is far more terrifying than any Kafkaesque prison, this novel gradually loses focus as it develops.
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To the young Waugh he represented a figure of louche daring, as evidenced by many suggestive but mostly inexplicit references in his published letters and diaries. They were less close from Oxford onwards.
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Short and rather inexplicit passages concerning religious images, were to have great impact on the development of Catholic Church art. Much more than the Second Council of Nicaea (787) the Council fathers of Trent stressed the pedagogical purpose of Christian images.Bühren 2008, p. 635f.; about the historical context of the decree on sacred images cf.
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However, participants judged the conjunction (bank teller and feminist) as being more probable than being a bank teller alone. Some research suggests that the conjunction error may partially be due to subtle linguistic factors, such as inexplicit wording or semantic interpretation of "probability". The authors argue that both logic and language use may relate to the error, and it should be more fully investigated.
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The reforms that resulted from this council are what set the basis for what is known as the Counter- Reformation. Italian painting after the 1520s, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style, striving for effect, that concerned many churchman as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art.
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Catechism of the Catholic Church Paragraph 85 Also, the Bible and Church Tradition (the tradition that composed part of the Catholic faith) were equally and independently authoritative. #The relationship of faith and works in salvation was defined, following controversy over Martin Luther's doctrine of "justification by faith alone". #Other Catholic practices that drew the ire of reformers within the Church, such as indulgences, pilgrimages, the veneration of saints and relics, and the veneration of the Virgin Mary were strongly reaffirmed, though abuses of them were forbidden. Decrees concerning sacred music and religious art, though inexplicit, were subsequently amplified by theologians and writers to condemn many types of Renaissance and medieval styles and iconographies, impacting heavily on the development of these art forms.
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2018 online is notable. The Cross, symbolizing Jesus' crucifixion on a cross, was not represented explicitly for several centuries, possibly because crucifixion was a punishment meted out to common criminals, but also because literary sources noted that it was a symbol recognised as specifically Christian, as the sign of the cross was made by Christians from very early on. The popular conception that the Christian catacombs were "secret" or had to hide their affiliation is probably wrong; catacombs were large-scale commercial enterprises, usually sited just off major roads to the city, whose existence was well known. The inexplicit symbolic nature of many early Christian visual motifs may have had a function of discretion in other contexts, but on tombs, they probably reflect a lack of any other repertoire of Christian iconography.
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Galloway made an inexplicit allusion to Hussein's remark comments at the U.S. Senate "Oil For Food" hearing in May 2005, when he called the hearing "the mother of all smokescreens". After the opening monologue, Galloway invited callers to challenge his views, with a preference for those who disagree with him and women callers. Galloway occasionally called his program The Great Debate and is different from other talk show hosts in that he willingly and ably debated hostile callers and encouraged those who strongly disagree with him to call "if you think you’re hard enough". In June 2009, the broadcasting regulator Ofcom said that several of Galloway's Talksport programme between November 2008 and January 2009 had broken its guidelines by moving away from a debating format "to campaign on a major matter of controversy", because Galloway had called on listeners to join demonstrations against Israel because of the 2008–9 Gaza War.
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The Last Judgment fresco in the Sistine Chapel by Michelangelo (1534–1541) came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon. Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style, striving for effect, that concerned many churchman as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic Church councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.
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The Last Judgment, a fresco in the Sistine Chapel by Michelangelo (1534–1541), came under persistent attack in the Counter- Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon. Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.
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Wagner unfortunately found that his audiences were not willing to follow where he led them: Finally Wagner announces: This is his first public announcement of the form of what would become the Ring cycle. In accordance with the ideas expressed in his essays of the period 1849–51 (including the "Communication" but also "Opera and Drama" and "The Artwork of the Future"), the four parts of the Ring were originally conceived by Wagner to be free of the traditional operatic concepts of aria and operatic chorus. The Wagner scholar Curt von Westernhagen identified three important problems discussed in "Opera and Drama" which were particularly relevant to the Ring cycle: the problem of unifying verse stress with melody; the disjunctions caused by formal arias in dramatic structure, and the way in which opera music could be organised on a different basis of organic growth and modulation; and the function of musical motifs in linking elements of the plot whose connections might otherwise be inexplicit. This became known as the leitmotif technique (see below), although Wagner himself did not use this word.
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