Question: What is the name of the foundation that donated to complete construction work at the college? Answer the above question based on the context below: The Second World War meant that construction work on the main college buildings could not begin until 21 April 1949, when the foundation stone was laid; work on the warden's residence had begun in October 1948. Before the buildings were erected, the college operated from rented houses elsewhere in Oxford, on Banbury Road and Woodstock Road. There were further changes to Harrison's second design, as not only had inflation between 1937 and 1949 reduced the value of Nuffield's original donation, but additional savings had to be made in the difficult post-war economic situation. A scale model, created in 1949 as work started, showed the alterations: a shortened tower, a plainer main entrance, and no arcades within the quadrangles. Further changes were made once work was under way, including the indefinite postponement of construction of the institute opposite the college. The plans of the tower were altered so that it would hold a library, instead of being purely ornamental, windows were added at regular intervals, and it was topped by a copper fleche, or small spire.A further delay in construction was announced in 1951, when labour and materials were restricted because of a government rearmament drive. Work to complete the quadrangle, including a hall, kitchen and the library tower, began in 1955 at a cost of 200,000. This money was donated to the college by the Nuffield Foundation upon Lord Nuffield's recommendation. Until it was required for books, the fellows of the college used the upper floor as a Senior Common Room. The tower was completed in 1956, and the college as a whole (without the institute on the site opposite, which is now used as a car park) was finished in 1960. Work was still under way when the college was incorporated by royal charter in 1958, thereby becoming a self-governing entity. The charter was presented to the college by the Duke of Edinburgh on 6 June 1958, at the first lunch to be served in the hall.Colvin commented that, apart from the fleche which was similar to the initial plan,...
Answer: Nuffield Foundation
[Q]: With which superhero does Grayson appear to have a negative history? Answer the above question based on the context below: While no cohesive plot is apparent from the vignette style of the trailer, it can be pieced together that Batman has been murdered, and his killer remains at large. Dick Grayson is long since retired from his superhero days and raising a family with to his wife Barbara Gordon. After his former mentor's death, however, he decides to resume his crime-fighting days as Robin. Remarkably, Grayson does not take up the Nightwing identity. The filmmakers said they chose this because many people outside the comic book community are unfamiliar with Nightwing and they wanted to appeal to a wider audience.Commissioner Gordon is aware of Grayson's secret identity and assists him by supplying official documents. In addition, Gordon provides the voiceover narration at the beginning of the trailer. The head of the investigation into Batman's death is indicated to be Chief O'Hara, a character from the 1960's Batman TV series, who apparently also knows Grayson's identity (noting that Grayson's "crimefighting days are over") His role is suspicious since he strongly wants Grayson to not become involved, even to the point of aligning with Selina Kyle/Catwoman to eliminate Robin and shouting at reporter Clark Kent that he wants "him [presumably Grayson] out of the equation!" O'Hara is also seen rolling up his sleeves, preparing to assault an angry captive Gordon. Grayson is aware of Superman's secret identity; he addresses him as "Clark". Superman apparently is also motivated (obviously from O'Hara) to discourage Grayson's return to crimefighting and three angry confrontations between the characters are shown, in and out of costume. Grayson is also angered to violence by the sight of a Superman comic book, suggesting a strongly negative history between the two. Other comic books also appear of characters from the film, including Wonder Woman and Catwoman. Fiorella used his own comic book collection for this scene.
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[A]: Superman
input: Please answer the following: What did Handel orignally write in da capo but shorten to dal segno? Answer the above question based on the context below: The opening soprano solo in E major, "I know that my Redeemer liveth" is one of the few numbers in the oratorio that has remained unrevised from its original form. Its simple unison violin accompaniment and its consoling rhythms apparently brought tears to Burney's eyes. It is followed by a quiet chorus that leads to the bass's declamation in D major: "Behold, I tell you a mystery", then the long aria "The trumpet shall sound", marked pomposo ma non-allegro ("dignified but not fast"). Handel originally wrote this in da capo form, but shortened it to dal segno, probably before the first performance. The extended, characteristic trumpet tune that precedes and accompanies the voice is the only significant instrumental solo in the entire oratorio. Handel's awkward, repeated stressing of the fourth syllable of "incorruptible" may have been the source of the 18th-century poet William Shenstone's comment that he "could observe some parts in Messiah wherein Handel's judgements failed him; where the music was not equal, or was even opposite, to what the words required". After a brief solo recitative, the alto is joined by the tenor for the only duet in Handel's final version of the music, "O death, where is thy sting?" The melody is adapted from Handel's 1722 cantata Se tu non-lasci amore, and is in Luckett's view the most successful of the Italian borrowings. The duet runs straight into the chorus "But thanks be to God".The reflective soprano solo "If God be for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. It ushers in the D major choral finale: "Worthy is the Lamb", leading to the apocalyptic "Amen" in which, says Hogwood, "the entry of the trumpets marks the final storming of heaven". Handel's first biographer, John Mainwaring, wrote in 1760 that this conclusion revealed the composer "rising still higher" than in "that vast effort of genius, the Hallelujah chorus". Young writes that the "Amen" should, in the manner of Palestrina, "be delivered as though through the aisles and...
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output:
"Behold, I tell you a mystery"