I consider myself a very mature man at this stage.
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She wanted him to be a mature man at 20 before they got married.
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This is the response of a mature man who may actually believe in democracy.
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It takes a mature man to open up about their feelings and the trio truly expose themselves emotionally on this ode to mental health.
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Hausfeld and King quickly realized that O'Bannon — a poised, mature man with no skeletons in his closet — was the perfect plaintiff, and he agreed to take on the role.
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So he did the only thing he could do and by combatting economic duress became a better man—ironically for someone who had always been old, a more mature man.
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Four decades after his breakout role as Arthur "Fonzie" Fonzarelli on the sitcom Happy Days, Henry Winkler is just now becoming the emotionally mature man and actor he's always wanted to be.
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Some are let go because their clients tell management, "We can't work with this guy anymore because we want to see fresh ideas," and they think the more mature man has old ideas.
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"Justin is in a better place than he was before, but he'll be the first person to tell you that he still has a lot of work to do," a religious source close to Bieber, 25, tells PEOPLE "He wants to be a healthy, mature man — a husband and, someday, a father," the source says.
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The face is that of a mature man with the mouth closed, sagging cheeks and lines under the eyes. The mouth is sensitively carved and the head possesses a pronounced chin.Casellas Cañellas 2004, p. 221.
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"Montmartre" is a musical set in early 20th century Paris; the two main protagonists are Kiki, the most sought-after model of her day (an actual person), and a cynical mature man being confronted by his idealistic younger self.
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There are two small portraits within each side of the border one a school boy and the other a more mature man reflecting, both of these illustrate the wording within the poem. This miniature is painted in predominantly blue but also with green.
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Oldest and rare surviving depiction of Nepri (or Neper) as an age mature man with the iconic 3 grain-symbol above his head as depiction In ancient Egyptian religion, Neper (alts. Nepra or Nepri) was a god of grain.Pinch, Geraldine. Egyptian Mythology p.171.
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Historians recognize one son of Grand Duke Vytenis, Žvelgaitis, who may have died before his father. In 1310 Žvelgaitis, already a mature man, led an army to nearby Livonia in modern-day Latvia and Estonia.Nikžentaitis, Alvydas. Gediminas, p. 23 After Vytenis died in about 1315, Gediminas became the Grand Duke.
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Romain Faubert is a mature man who can never hide his hypochondriasis. Romain's fears are profitable for his doctor Dimitri Zvenka. Even so, Dimitri really wants to cure the patient who has no other friend than him. He feels that Romain's actual problem is his loneliness rather than anything else.
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John Payne was born at Peterborough in 1532.Stanton, Richard, A Menology of England and Wales, p.140, Burns & Oates, Ltd., London, 1892 He was probably a mature man when he went to the English College at Douai in 1574, served there as bursar, and was ordained priest by the Archbishop of Cambrai on 7 April 1576.
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Probably, Morta was Mindaugas' second wife as Vaišvilkas, the eldest son of Mindaugas, was already a mature man active in international politics when Morta's sons were still young and dependent on the parents. After her death, Mindaugas married her sister, the wife of Daumantas. In revenge, Daumantas allied with Treniota and assassinated Mindaugas and two of Morta's sons in 1263.
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Cousin Angelica () is a 1974 Spanish drama film directed by Carlos Saura. Starring José Luis López Vázquez as a middle-aged man whose memories of his childhood during the Spanish Civil War make him reenact his past as the mature man he is today. The film was entered into the 1974 Cannes Film Festival and was highly controversial in Spain.
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The King of Cups is depicted as a mature, fair-haired man, seated on a throne and holding a cup in his right hand and a sceptre in his left. Here is a man who is "all heart". The king of cups card usually depicts a mature man who appreciates the finer things in life such as music and art. He can be warm- hearted and kind.
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The King of Swords card from the Minor Arcana is often used to depict a mature man with sound intellectual understanding and reasoning. This card depicts a man who is strong-hearted, decisive, and intellectually oriented. The King of Swords can also depict a man who is ruthless or excessively judgmental; the querent is therefore advised to balance his intellectual orientation with emotional understanding.
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Above these symbols is an angular U-shaped decoration descending from the scalp. On each side of the monument a strap descends from the headdress, passing in front of the ear. Each ear has a prominent ear ornament that descends from the earlobe to the base of the monument. The features are those of a mature man, with wrinkles around the mouth, eyes and nose.
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Archaic bearded Hermes from a herm, early 5th century BC. Statue of Hermes wearing the petasos, a voyager's cloak, the caduceus and a purse. Roman copy after a Greek original (Vatican Museums). The image of Hermes evolved and varied along with Greek art and culture. In Archaic Greece he was usually depicted as a mature man, bearded, and dressed as a traveler, herald, or pastor.
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In "Dear Child", Brymo narrates the fickleness of life as well as the unconditional love between a grandmother and her grandchild. "Ję Lé O Sinmi" (Yoruba: Kindergarten) is a memoir of Brymo's past as an innocent child in the daycare to that of a mature man. "Alone" is a spoken word track about discovering one's self. "Never Look Back" is a compelling charge to owning up and taking responsibility.
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At his accession, the imam was already a mature man in his upper forties. He upheld the Yemeni suzerainty in Hadramaut, and was reported to be a pious figure. His residence was al-Ghiras north-east of San'a. In 1679 the imam expelled the Jewish population from San'a and the surrounding regions, being forced to settle in Mawza close to Mocha, in what was then known as the Mawza Exile.
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Theodoric's old but hardy armourer Hildebrand arranges an alliance to be made between him, Vitiges, Totila and Teia to save their kingdom. Vitiges is a just and mature man, who has to sacrifice his happy marriage with Rauthgundis to marry Amalasuntha's daughter Matasuntha. Totila is portrayed as a handsome and charismatic young man, who (like Theodoric) wishes to combine Roman civilisation with Gothic strength. This is symbolised in his relationship with the Italian Valeria.
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As Henrik and Anna begin to see more of each other, Henrik secretly continues living with Frida. While speaking with Anna's mother Karin, Henrik confesses that he feels unwelcome among the Åkerbloms. Karin tells him frankly that she feels Anna needs a mature man who can nurture her, but he is lacking on both counts. Karin also tells Anna that Henrik is still living with Frida, a fact verified by the family.
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A mature man who is trying to come to grips with his relationship concerning his ex-wife and daughter. Owns the club in which the other characters of the film perform. Rosa lives on two fronts and tries to provide his daughter proper attention, but she constantly complains that he spends too little time with her, dresses badly and looks like a "crazy man". Despite a sociable facade, Rosa is deeply lonely which eventually ruins him.
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On the other hand, he talks of writing that is 'unbecoming, crooked, badly formed and quick, yet legible'. Such writing denotes a mature man who has written a lot. Later he says 'if the handwriting is uneven, with lines that are wavy and generally ascending, such a person is naturally inclined to dominate... with such instability one can also add that he is likely to be choleric and apt to be unrestrained in following his desires'.
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In his earlier days, the palette was bright, more colourful, gayer, lighter, which he eschewed as he grew into a more mature man and painter. He left it behind in favour of a more sombre representation where, I think, the lighter, more lyrical colour was put aside and he went into deeper and more restricted tones. Also, mass, form and volume became very important to him. He simplified the paintings and they became, in a way, monumental.
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The Great Antonine Altar, the Parthian Monument reliefs, post 169 AD, Ephesos Museum Vienna, Austria (20434833803) The Great Antonine Altar is a high relief monument discovered in Ephesus dating to around 169 CE. The sculpture depicts The Antonines. Beginning on the far left, Marcus Aurelius is pictured at 17-years-old. Overlapping him, Antoninus Pius stands as a prideful, mature man, bearded, as his father, Hadrian, was known to be. To the right of Antoninus Pius stands Lucius Verus.
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The exact year and circumstances of his birth and early years remain unknown. Kon, as a mature man, and his relatives living in Moscow appear to be affiliated with the Boldino Monastery near Dorogobuzh, as evidenced by records of their donations to the monastery. Thus, it is assumed that Kon's ancestors came to Moscow from the Dorogobuzh area. The architect used the nickname Kon (Russian for stallion) as early as in 1584, as evidenced by his written plea to Ivan the Terrible.
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Conrad Bussow was born in the township of Ilten (part of present-day Sehnde near Hanover), in a family of a Lutheran pastor; his writing as a mature man suggests that he received a decent education at home, especially in Latin language and literature.Orchard, p. xxix He joined the military at the age of sixteen or seventeen. Details of his early service are unknown, but he eventually appeared in the troops of Stephen Báthory of Poland, engaged in the Livonian War.
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73-96 With arrival of Spaniards in the Caribbean in 1492, they developed patterns of conquest and settlement. From the Caribbean, they went on expeditions (entradas) of exploration, trade, conquest, and settlement. The Spanish crown issued a license for a particular leader to head an expedition, a mature man with wealth, social standing, and ambition to better his position. Explorers probed Mexico's east coast, with Francisco Hernández de Córdoba exploring southeast Mexico in 1517, followed by Juan de Grijalva in 1518.
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Michael returns to Los Angeles after a month on the ranch, now a more mature man and finding his old life no longer interesting. A jumping horse scares everyone at the track, but Michael tames it remembering his lessons from Mule. Michael ends his relationship with Gina after realizing that his parents were right and she is a rich snob. When Michael comes home and chastises his father for not helping the Biggs, he learns that Glenn had tried to help them out.
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With the onset of Prohibition, the Sheehan Billiard Room in Chicago became a sordid haunt for hard drinkers. A certain Old Bugs, a mature man corroded by vices but capable of showing, at long intervals, the typical sensitivity of educated people works as a kitchen cleaner. When the young Alfred Trever, initiated by his friend Pete Schultz on the way of drinking, arrives at the Sheehan's tavern, Old Bugs will try to convince him not to make the same mistake as he did.
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On the Altar of Peace (Ara Pacis), built in the last years of the 1st century BCE, Mars is a mature man with a "handsome, classicizing" face, and a short curly beard and moustache. His helmet is a plumed neo-Attic-type. He wears a military cloak (paludamentum) and a cuirass ornamented with a gorgoneion. Although the relief is somewhat damaged at this spot, he appears to hold a spear garlanded in laurel, symbolizing a peace that is won by military victory.
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Henderson Suter of Grace Church in Berryville, the Rev. Thompson B. Maury and several other Confederate chaplains. Deacon J. B. T. Reed, already a mature man and active Mason as well as son of a Methodist minister, was never was ordained a priest, but at the war's end initiated young Union Major William McKinley into Winchester's Hiram Lodge of Masons, as well as himself served as a missionary in various nearby churches before his death at age 89 in 1895.
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Going by the name Joan Smith, she builds a new life in the city and falls in love with Eric Russell (Horace McNally), an attorney. The voice, which calls itself Karen, approves of this mature man, and when Karen emerges, briefly, while they are on a river cruise, she kisses him with a fiercely devouring, possessive passion that is unnerving. When Joan regains control, she asks “What did I do?” and bursts into tears. Eric is very worried, but she won't talk to him about it.
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Standing Mercury is a bronze sculpture by French artist Auguste Rodin, first exhibited in 1888. Rodin depicts the mythological god Mercury, son of Maia and Jupiter--messenger of the gods and guide to the Underworld--as a young man, representing eloquence and reason. This depiction is opposite to the traditional representation of Hermes, its Greek counterpart, as a mature man. Descending from high above, Mercury barely touches the ground with his toe and his body rests lightly on it with outstretched arms and vigorous musculature.
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After the war, he studied at the Free University in Amsterdam and was admitted to the degree of Doctor of Theology. He became an ordained minister of the Reformed Church of South Africa and from 1911 he was a professor at the Theological College of this Reformed Church in Potchefstroom. As a mature man he travelled to the Netherlands and Palestine and his impressions of these visits to foreign lands are included in the collection Skemering (1948). (The word Skemering is a pun and difficult to translate.
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The dilemma that causes the film's main problem (not knowing the future) once solved makes it all the more difficult – "I don't know the future, therefore I cannot make a decision. Now that I know the future I still cannot make one." The eloquent interplay between philosophical lifestyle and what forges reality, is epitomized by the constant change in storyline, between young boy, adolescent, and mature man. The film takes a four-dimensionalist view of the nature and existence of life in the universe.
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Saint Cyngar was a 5th-century Welsh Saint. He is the Patron Saint of Llangefni, Anglesey, in Wales, and a founding member of St. Cybi's Monastery at Holyhead, Anglesey. Church of St Cybi in Llangybi Born around 488 AD, he was the son of King Gerren Llyngesog of Dumnonia. As a mature man, he became a follower of his nephew, St. Cybi Felyn, whom he accompanied to Edeligion in South Wales where they built churches in Llangybi-upon-Usk and Llanddyfrwyr- yn-Edeligion before King Glywys of Glywysing forced them to leave.
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Skanderbeg's letter in response, dated to 10 October 1460, stated that he was not a condottieri looking for fortune, but a mature man looking to help his ally. Furthermore, he sent another letter to Ferdinand assuring him his loyalty. Another letter was sent to Pius assuring him that the Albanians were fit for battle in Italy, something the Italian rulers did not believe. The letters elucidate Skanderbeg's political motives behind his Italian expedition, presenting himself as a noble ally, and also illustrate the influence of the Renaissance in Skanderbeg's court.
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Unlike the characters he played, de Funès was said to be a very shy person in real life. Capable of an extremely rich and rapidly changing range of facial expressions, de Funès was nicknamed "the man with forty faces per minute." In many of his films, he played the role of a humorously excitable, cranky, middle-aged or mature man with a propensity for hyperactivity, bad faith, and uncontrolled fits of anger. Along with his short height – – and his facial contortions, this hyperactivity produced a highly comic effect.
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However, any confident assessment of the actual incidence of homosexual behavior remains elusive. Preference for homosexual over heterosexual relations was regarded as a matter of personal taste rather than a marker of homosexual identity in a modern sense. While playing an active role in homosexual relations carried no social stigma beyond that of licentious behavior, seeking to play a passive role was considered both unnatural and shameful for a mature man. Following Greek precedents, the Islamic medical tradition regarded as pathological only this latter case, and showed no concern for other forms of homosexual behavior.
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Some of his childhood experiences found their way into his writings. When a nine-year-old girl had been raped by a drunk, he was asked to fetch his father to attend to her. The incident haunted him, and the theme of the desire of a mature man for a young girl appears in The Devils, The Brothers Karamazov, Crime and Punishment, and other writings. An incident involving a family servant, or serf, in the estate in Darovoye, is described in "The Peasant Marey": when the young Dostoevsky imagines hearing a wolf in the forest, Marey, who is working nearby, comforts him.
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Each subject looks in a different direction, with no lines of vision intersecting, reflecting the sketch-like nature of the work. The three female figures have similarly youthful appearances, not children but also not old. The male figures progress in age from a boy at the top centre, through a mature man at the bottom centre, to a more elderly man at the top right. The older man is possibly Ben Ives; the other servants may be "Samuel"; Mary Lewis, Hogarth's wife's cousin, who later inherited the painting; and Mrs Chappel, who was known to have worked for the Hogarths in Chiswick.
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By the time Gothus returned home at the age of 32, he was a mature man with European broad-mindedness like no other Swedish theologian. He immediately became professor of theology at Uppsala University and rector and professor of the newly founded Collegium Illustre in Stockholm. At the time of the House of Knight's establishment, the king Gustavus Adolphus realised that the nobility needed education in order to maintain their position. Already in the preamble of the knight house order, the long-gone plans of a special school, exclusive to the nobility and located at the knight house, were clarified.
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A mature man would not usually have a mature male mate (with exceptions such as Alexander the Great and the same-aged Hephaestion) but the older man would usually be the erastes (lover) to a young eromenos (loved one). Men could also seek adolescent boys as partners as shown by some of the earliest documents concerning same-sex pederastic relationships, which come from ancient Greece. Often they were favored over women. Though slave boys could be bought, free boys had to be courted, and ancient materials suggest that the father also had to consent to the relationship.
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A mature man would not usually have a mature male mate, but there were exceptions (among whom Alexander the Great) He would be the erastes (lover) to a young eromenos (loved one). Dover suggests that it was considered improper for the eromenos to feel desire, as that would not be masculine. Driven by desire and admiration, the erastes would devote himself unselfishly by providing all the education his eromenos required to thrive in society. In recent times, Dover's theory suggests that questioned in light of massive evidence of ancient art and love poetry, a more emotional connection than earlier researchers liked to acknowledge.
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Arnolphe, the main protagonist, is a mature man who has groomed the young Agnès since she was 4 years old. Arnolphe supports Agnès living in a nunnery until the age of 17, when he moves her to one of his abodes, which he keeps under the name of Monsieur de la Souche. Arnolphe's intention is to bring up Agnès in such a manner that she will be too ignorant to be unfaithful to him and he becomes obsessed with avoiding this fate. To this end, he forbids the nuns who are instructing her from teaching her anything that might lead her astray.
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What is imparted to the initiates during the Fanado not only concerns their entire culture, but also how to behave with others, how to manage the family, and how to live as adults and men therefore wise. The tests and trials are hard to the point where some people face physical suffering, mutilation, and/or do not survive. Once completed, the initiate is a mature man, capable of taking care of other people in the tribe. After two months in the “sacred woods,” the initiate (if survived) is ready to return to his family as a new man.
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Aodh Rua O Donaill, the Lord of Tir Chonaill, wanted an experienced and mature man at the helm, someone who would remain loyal to him, effectively keeping the peninsula and its resources under his control. That man was Feilim Og, Sean Og's half-brother. The English commander in Derry, Sir Henry Dowcra, was not bothered who the successor was as long as they were ready to submit himself and the territory to the Queen. Aodh Bui Mac Daibheid wanted the young Cathaoir as successor. Aodh Rua O Donaill prevailed and Feilim Og was inaugurated in February 1601.
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A nagging voice, which sounds like the father he never knew, echoes in his head, telling him he is not worthy. A wild romp marks the second vision of the twenty-something life of Christopher as he tries to escape an artistic maelstrom and finds himself face to face with the love he had for a brief moment and lost from the first vision. His life takes a brutal twist as he finds but again loses his love. The last vision Donald sees is the return of Christopher now as a mature man, wearied from the difficult curveballs life has thrown him.
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Harry describes Fix as a much more competent and mature man than when they first met, and Fix has genuinely earned Harry's respect. Fix and Harry end up fighting toward the end of the story and, after Harry defeats Fix and then saves his life, Harry manages to convince Fix that Maeve is the cause of their problems as she's infected with the Outsiders' "Nemesis" virus. Fix helps Harry to battle Maeve and ends up stalling her and her minions long enough for Harry to summon Mab. Harry shares his secret of having a daughter with Fix, showing him how much trust he has in the current Summer Knight.
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In the episode "Prank Callers", it is shown that Pops was once a more serious and mature man back in the 1980s. However, when Mordecai and Rigby had been sent back to that time and accidentally hit him with a golf cart, he is shown to have turned into his zany self. Pops once owned a British doll named Percival, or Percy, who turned his back on him and tried to kill Pops in "Terror Tales of the Park". Pops is also one with nature, but lost it until he tries to find the answer to get it back, as shown in "Catching the Wave".
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Kevin Clinton attempted to distinguish the iconography of Hades, Plouton, Ploutos, and the Eleusinian Theos in 5th-century vase painting that depicts scenes from or relating to the mysteries. In Clinton's schema, Plouton is a mature man, sometimes even white- haired; Hades is also usually bearded and mature, but his darkness is emphasized in literary descriptions, represented in art by dark hair. Plouton's most common attribute is a sceptre, but he also often holds a full or overflowing cornucopia; Hades sometimes holds a horn, but it is depicted with no contents and should be understood as a drinking horn. Unlike Plouton, Hades never holds agrarian attributes such as stalks of grain.
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After reflecting on the death of Rodney and how he put Yvette and his son in danger by not being around consistently, Jody finally moves out of his mom's house and in with Yvette. Jody has now become a mature man, realizing that Juanita's relationship with Melvin is a stable one and that he has a family of his own that he needs to protect and take care of. Afterward, Jody and Yvette get married and look forward to the birth of their unborn child. Sweetpea decides to turn over a new leaf and gets baptized, putting his old life as a thug behind him.
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The son, at this point, puts on his father's cap and tunic. A tribal elder, carrying the dead man's bow, ritually guides the son to his father's granary and shows him the inside. After his father's death the son is considered a mature man for the purposes of ritual, and it is his responsibility to make sacrifices to the ancestors, chief among them being his own father, who being recently dead is held to act as an intermediary between those still living and the more remote ancestors. It is believed that these taboos and rituals serve to channel ambivalence and resentment between generations into culturally defined and culturally acceptable means of expression.
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The Adonis River (now known as the Abraham River) in Lebanon was said to run red with blood each year during the festival of Adonis. In Idyll 15 by the early third-century BC Greek bucolic poet Theocritus, Adonis is described as a still an adolescent with down on his cheeks at the time of his love affair with Aphrodite, in contrast to Ovid's Metamorphoses in which he is portrayed as a fully mature man. Pseudo-Apollodorus (Bibliotheke, 3.182) describes Adonis as the son of Cinyras, of Paphos on Cyprus, and Metharme. According to Pseudo-Apollodorus's Bibliotheke, Hesiod, in an unknown work that does not survive, made of him the son of Phoenix and the otherwise unidentified Alphesiboea.
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In 1930, Hergé escorted her home from work almost every night, though she expressed little romantic interest in him at the time. Instead she desired an older, or more mature man, such as the Abbé himself. Wallez however encouraged the two to enter into a relationship, and one evening at the Taverne du Palace she indicated to Hergé that she would be interested in a relationship. On 20 July 1932 Hergé and Kieckens were married; although neither of them were entirely happy with the union, they had been encouraged to do so by Wallez, who insisted that all his single staff married and who personally carried out the wedding ceremony at the Saint-Roch Church in Laeken.
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Thereby, Althusser warns against any attempts at reading in a teleological way Marx, that is in claiming that the mature Marx was already in the young Marx and necessarily derived from him: > Capital is an ethical theory, the silent philosophy of which is openly > spoken in Marx's Early Works. Thus, reduced to two propositions, is the > thesis which has had such extraordinary success. And not only in France and > in Italy, but also, as these articles from abroad show, in contemporary > Germany and Poland. Philosophers, ideologues, theologians have all launched > into a gigantic enterprise of criticism and conversion: let Marx be restored > to his source, and let him admit at last that in him, the mature man is > merely the young man in disguise.
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She doesn't imagine that Isaura, who pretends to be her friend and still living at her side as her "sweet" stepmother, is really her worst enemy. Ten years later, Nora becomes a famous and wealthy model, is married to Félix Palacios (Sergio Reynoso), a rich and mature man who adores her, but has mysterious business; however, Nora has not been able to stop thinking about Arturo. Paulina is also a recognized journalist, married to Arturo, who lives with her and Marisa, their daughter, but Paulina is deeply unhappy with Arturo who never loved her and is still deeply in love with Nora. Meanwhile, Arturo has different jobs that all end in failure, without suspecting that it was Nora who made him fired from his jobs.
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The coinage of one mint features a mature man on the obverse—generally identified as Diodotus I, while the obverse of coinage produced at the other mint depicts a similar, but younger, figure. Frank L. Holt proposes that the latter was Diodotus II. He suggests that Diodotus was entrusted with control of a portion of the realm that included the second mint. This arrangement would follow the model laid down by the Seleucids, who had made a practice of appointing the crown prince as co-regent and entrusting them with government of the eastern portion of the empire (including Bactria). The location of the region under Diodotus II's control is unknown; Holt tentatively suggests that he controlled the western region which was exposed to raids from Parthia and had his base at Bactra.
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María Sánchez Amaro is a woman from a wealthy family, educated in the moral habits of the 20s, whose live revolves around three men: Alfredo, the seducer, whom she married and procreate a child, Enrico, mature man, noble and protector, with whom he formed a second marriage, and Antonio, who teaches her the promise of true love. After suffering abuse and betrayal by Alfredo, she is alone with her daughter when he goes to jail. She goes forward with his beautiful voice, but when he was released he returns to harass, María falls into the arms of Enrico, captivated by his love and goodness, and therein lies the love and protection that she has always yearned. Antonio then appears, as a man who received protection from Enrico when he fled his country, accused of a crime he did not commit.
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90, available here; the confusion was caused by Casariego himself, who intended to obscure his status of extra-marital child, González Ramírez 2012, p. 43 As a child Jesús Evaristo was brought up mostly by his paternal grandparents, who pursued a very traditional education model;every day the boy and his grandparents prayed for all defunct members of the family - listed one by one - and unknown ones; another rosary was intended for all travellers and mariners; before going to bed the boy kissed hands of his grandparents, Gonzalo Anes y Alvarez-Castrillón, Casariego historiador. Introducción, [in:] Jesús Evaristo Casariego: Biografía, antología y critica de su obra, Gijón 1983, , p. 36 as a mature man he later applauded them for childhood "con estilo antigue y virtuoso en el santo temor de Dios y en fidelidad constante a los grandes ideas de mi raza".
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Among her studies on contemporary literature, La cuestión palpitante (The Burning Question) stands out, and although she does not accept naturalism in this work, she defends a realist point of view and confronts those who maintain that the only purpose of evil in literature is to defeat it. Her style was energetic and she profoundly explored difficult social problems. Her most important works were novels such as Un viaje de novios (A Honeymoon), which narrates the story of a marriage between a mature man and a young, uncultured, but wealthy woman; or The tribune, the most naturalist of her novels, where she describes the hard proletarian life in a tobacco factory. Of greatest importance to her reputation are Los pazos de Ulloa (The House of Ulloa) and its sequelLa madre naturaleza(Mother Nature), with Galician characters and landscapes, with fast-moving and sometimes violent plots.
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On 7 November 1920 six, or according to other accounts four, working parties visited the battlefields of Ypres, the Marne, Cambrai, Arras, the Somme, and the Aisne, where units of the Royal Naval division as well as the Army had died: each party exhumed an unidentified body which was examined to ensure that it was British before being placed in a plain coffin. At midnight one of these coffins was chosen by Brigadier General L. J. Wyatt, General Officer Commanding troops in France and Flanders, and thus became the official "Unknown Warrior", placed in a new coffin bearing the inscription "A British Warrior who fell in the Great War 1914–1918 for King and Country".M. Gavaghan, The Story of the Unknown Warrior (1997). In 1916 Railton was an experienced and mature man in his thirties and was appalled at the sufferings and loss caused by the War.
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Following this logic, one can assume that the role of protector falls into the role of the empowered male and the protected is therefore the vulnerable females. In a further example of the binary, she assumes the role of the protector as the state itself and that any rational individual within; can depict their ideologies as a "sober and mature man who gives careful thought to the achievement of his purposes". She indicated that this once again creates the illusion that the realist state is a rational "manly state"; thus creating the multitude of different dichotomies such as "active/passive", "independent/ (inter)dependent", "rational/irrational"; each signifying the proposed association of the positive traits to the male gender and the negative to the female gender. She concludes that while there is "less than expected" of masculine lined language, it is apparent that at both face value, and while reading between the lines, that feminine terminology is devalued throughout the White Paper.
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They thought they were safe from him because he was behind bars and yet he continued to perpetrate these types of crimes and none of the factors that they cite now overshadow or outbalance those reasons for now executing the judgment of the people of the State of California. On January 13, 2006, California Governor Arnold Schwarzenegger refused to grant Allen clemency, stating that "his conduct did not result from youth or inexperience, but instead resulted from the hardened and calculating decisions of a mature man." Schwarzenegger also cited a poem in which Allen glorified his actions, where Allen wrote, "We rob and steal and for those who squeal are usually found dying or dead." On January 15, 2006, the Ninth Circuit Court of Appeals denied Allen's claim that executing an aged or infirm person was cruel and unusual punishment, observing that his mental acuity was unimpaired and that he had been fifty years of age when he arranged the murders from prison.
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In his introduction, Heinesen makes it clear that this is only a small selection of letters, which in total fill some 1,500 pages, and that it is, strictly speaking, not an autobiography. There is no attempt to follow Jacobsen's life day by day, but rather to give a series of momentary impressions of his life and opinions both as a young student and as a mature man marked by the tuberculosis that was to lead to his early death. It is not intended to idealize Jacobsen, but to show his incredible optimism and love of the life that he must surely at an early stage have been aware he was to leave before long. In the words of Heinesen in the introduction: > > The selection of Jørgen-Frantz Jacobsen's letters here presented--mainly > in the form of excerpts, though some in extenso--is principally about the > letter-writer himself, the significant events in his life, and the mental > qualities with which he meets this his fate.
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Wekerle and Wolfe theorized that "a mutually coercive and violent dynamic may form during adolescence, a time when males and females are more equal on a physical level" and that this "physical equality allows girls to assert more power through physical violence than is possible for an adult female attacked by a fully physically mature man." Regarding studies that indicate that girls are as likely or more likely than boys to commit IPV, the authors emphasize that substantial differences exist between the genders, including that girls are significantly more likely than boys to report having experienced severe IPV, such as being threatened with a weapon, punched, strangled, beaten, burned, or raped, and are also substantially more likely than boys to need psychological help or experience physical injuries that require medical help for the abuse, and to report sexual violence as a part of dating violence. They are also more likely to take IPV more seriously. By contrast, boys are more likely to report experiencing less severe acts, such as being pinched, slapped, scratched or kicked.
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