Q: Given the following context: On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church. The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47. The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life". The family initially lived in a semi-detached house called Bron Haul near Betws-y-Coed, on what is now the A5 road. Two years later he bought a larger property called Coed-y-Celyn on the east bank of the River Lledr, about a mile south of Betws-y-Coed. After moving to Geneva, the family lived for about three years in a rented property called Richemont on the road from Geneva to Chene-Bougeries. Finally in 1866 the family moved back to Lancaster to live in Scotforth, then a small village to the south of the town.Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church. A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan. His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery. "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect. His estate was valued at "under 14,000" (equivalent to 1,290,000 as of 2018). A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife. answer the following question: What is the full name of the person Sharpe was buried next to?
A: Elizabeth Sharpe

Q: Given the following context: Jack and Sarah are expecting a baby together, but a complication during the birth leads to the death of Sarah. Jack, grief-stricken, goes on an alcoholic bender, leaving his daughter to be taken care of by his parents and Sarah's mother, until they decide to take drastic action: they return the baby to Jack whilst he is asleep, leaving him to take care of it. Although he struggles initially, he eventually begins to dote on the child and names her Sarah. Despite this, he nevertheless finds it increasingly difficult to juggle bringing up the baby with his high-powered job, and though both sets of the child's grandparents lend a hand (along with William, a dried out ex-alcoholic who, once sober, proves to be a remarkably efficient babysitter and housekeeper), he needs more help. Amy, an American waitress he meets in a restaurant who takes a shine to Sarah, takes up the role as nanny, moving in with Jack after one meeting. Although clashing with William and the grandparents, especially Jack's mother, Margaret, Jack and Amy gradually grow closerbut Jack's boss has also taken an interest in him. answer the following question: What's the name of the person whose birth causes Sarah to die?
A: Sarah

Q: Given the following context: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism... answer the following question: Whose "romantically classical" approach was commented on by reviewers?
A: Bellette

Q: Given the following context: In Kathmandu, the sorcerer Kaecilius and his zealots enter the secret compound Kamar-Taj and behead its librarian. They steal a few pages from an ancient, mystical text belonging to the Ancient One, a long-lived sorcerer who has taught every student at Kamar-Taj, including Kaecilius, in the mystic arts. The Ancient One pursues the traitors, but Kaecilius and his followers escape. In New York City, Stephen Strange, a wealthy, acclaimed, and arrogant neurosurgeon, severely injures his hands in a car accident, leaving him unable to operate. Fellow surgeon and former lover Christine Palmer tries to help him move on, but Strange vainly pursues experimental surgeries to heal his hands, nearly bankrupting himself. Strange learns about Jonathan Pangborn, a paraplegic who mysteriously regained use of his legs. Pangborn directs Strange to Kamar-Taj, where he is taken in by Mordo, a sorcerer under the Ancient One. The Ancient One demonstrates her power to Strange, revealing the astral plane and other dimensions such as the Mirror Dimension. She reluctantly agrees to train Strange, whose arrogance and ambition remind her of Kaecilius. Strange studies under the Ancient One and Mordo, and from ancient books in the library that is now guarded by Master Wong. Strange learns that Earth is protected from threats from other dimensions by a shield generated from three buildings called Sanctums, in New York City, London, and Hong Kong, which are all connected and accessible from Kamar-Taj. The sorcerers' task is to protect the Sanctums, though Pangborn instead chose to channel mystical energy only into walking again. Strange progresses quickly, and secretly reads the text from which Kaecilius stole pages, learning to bend time with the mystical Eye of Agamotto. Mordo and Wong warn Strange against breaking the laws of nature, drawing a comparison to Kaecilius' desire for eternal life. answer the following question: What is the name of the person who is reminded of Kaecilius by Strange's arrogance and ambition?
A:
Ancient One