In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: The impetus for creating the Ham Wall reserve was the plight of the bittern, with only 11 males present in the UK in the 1997 breeding season. Much of its reed bed habitat was deteriorating, and key coastal sites in eastern England were at risk of salt-water flooding, so an opportunity to create a new inland site was attractive to the RSPB. The peat excavations already had bund walls that allowed the water levels on the reserve to be easily managed in sections, and the workings had removed peat down to the underlying marine clay, a depth of 2 metres (6.6 ft) in this area.Water levels were managed using sluices, pipes and wind-pumps to create reed beds with about 20% open water, and the ditches were deepened and widened to restrict reed encroachment and provide a habitat for fish, particularly common rudd, introduced to provide food for the bitterns. By the completion of major works in 2013, the 260 hectares (640 acres) reserve contained 220 hectares (540 acres) of reed bed, including 75 hectares (190 acres) of deep water channels and ditches, 10 hectares (25 acres) of wet woodland and 30 hectares (74 acres) of grass, the latter being mainly on the bunds and some higher ground.Ham Wall, along with Lakenheath Fen in Suffolk, has been a key part of a bittern recovery programme initiated in 1994 as part of the United Kingdom Biodiversity Action Plan. Both reserves created extensive new reed beds, thereby adding significant additional breeding habitat. Initial funding for the recovery scheme was £60,000 from English Nature in 1994, augmented by two rounds of EU funding in 1996-2000 and 2002-2006. 
Question: In what reserves were new reed beds created?

A: Lakenheath Fen.
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Q: Passage: The attribution of the panel reflects the progression and trends of 19th and 20th-century scholarship on Early Netherlandish art. It is now thought to have been completed c. 1438–40, but there are still arguments for dates as early as 1424–29. As with the pages ascribed to Hand G in the Turin-Milan Hours manuscript, the panel was attributed to Jan's brother Hubert van Eyck in the 1875 Gemäldegalerie catalogue, and by a 1911 claim by art historian Georges Hulin de Loo. This is no longer considered credible and Hubert, today, is credited with very few works. By 1912 the painting had been definitively attributed to Jan in the museum catalogue.Attempts to date it have undergone similar shifts of opinion. In the 19th century the panel was believed to be an early work by Jan completed as early as c. 1410, although this view changed as scholarship progressed. In the early 20th century, Ludwig von Baldass placed it around 1424–29, then for a long period it was seen as originating from the early 1430s. Erwin Panofsky provided the first detailed treatise on the work and placed it around 1432–34. However, following research from Meyer Schapiro, he revised his opinion to the late 1430s in the 1953 edition of his Early Netherlandish Painting. A 1970s comparative study of van Eyck's 1437 Saint Barbara concluded that Madonna in the Church was completed after c. 1437. In the 1990s, Otto Pächt judged the work as probably a late van Eyck, given the similar treatment of an interior in the 1434 Arnolfini Portrait. In the early 21st century, Jeffrey Chipps Smith and John Oliver Hand placed it between 1426 and 1428, claiming it as perhaps the earliest extant signed work confirmed as by Jan. 
Question: What is the full name of the person who is credited with very few works?

A: Hubert van Eyck.
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Q: Passage: Although no new fighting techniques were introduced during the Texas Revolution, casualty figures were quite unusual for the time.  Generally in 19th-century warfare, the number of wounded outnumbered those killed by a factor of two or three.  From October 1835 through April 1836, approximately 1,000 Mexican and 700 Texian soldiers died, while the wounded numbered 500 Mexican and 100 Texian.  The deviation from the norm was due to Santa Anna's decision to label Texian rebels as traitors and to the Texian desire for revenge.During the revolution, Texian soldiers gained a reputation for courage and militance.   Lack points out that fewer than five percent of the Texian population enrolled in the army during the war, a fairly low rate of participation.  Texian soldiers recognized that the Mexican cavalry was far superior to their own.  Over the next decade, the Texas Rangers borrowed Mexican cavalry tactics and adopted the Spanish saddle and spurs, the riata, and the bandana.The Texas Veterans Association, composed solely of revolutionary veterans living in Texas, was active from 1873 through 1901 and played a key role in convincing the legislature to create a monument to honor the San Jacinto veterans.  In the late 19th century, the Texas Legislature purchased the San Jacinto battlesite, which is now home to the San Jacinto Monument, the tallest stone column monument in the world.  In the early 20th century, the Texas Legislature purchased the Alamo Mission, now an official state shrine. In front of the church, in the center of Alamo Plaza, stands a cenotaph designed by Pompeo Coppini which commemorates the defenders who died during the battle. More than 2.5 million people visit the Alamo every year.The Texas Revolution has been the subject of poetry and of many books, plays and films. Most English-language treatments reflect the perspectives of the Anglos and are centered primarily on the battle of the Alamo.  From the first novel depicting events of the revolution, 1838's Mexico versus Texas, through the mid-20th century, most works contained  themes of anticlericalism and racism, depicting the battle as a fight for freedom between good (Anglo Texian) and evil (Mexican). In both English- and Spanish-language literature, the Alamo is often compared to the battle of Thermopylae.  The 1950s Disney miniseries Davy Crockett, which was largely based on myth, created a worldwide craze for everything Alamo-related. Within several years, John Wayne directed and starred in one of the best-known and perhaps least historically accurate film versions, The Alamo (1960).  Notably, this version made the first attempt to leave behind racial stereotypes; it was still banned in Mexico.  In the late 1970s, works about the Alamo began to explore Tejano perspectives, which had been all but extinguished even from textbooks about the revolution, and to explore the revolution's links to slavery. 
Question: What is the name of the first novel that was based on the revolution that resulted in no new fighting techniques being introduced?

A:
Mexico versus Texas.
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