What type of dog is Winn-Dixie? Answer the above question based on the context below: 10-year-old India Opal Buloni has just moved to the fictional small town of Naomi, Florida with her father, a preacher. While in the Winn-Dixie supermarket, she encounters a scruffy Berger Picard that is wreaking havoc. Opal (not wanting the store manager to send the dog to the pound) claims that it is her dog and names it "Winn-Dixie". Winn-Dixie becomes friends with everyone he encounters, and so Opal makes some new friends in the process. She also rekindles her relationship with her father, and learns ten things about her mother, who abandoned them seven years ago. Opal describes the preacher as a turtle, always sticking his head into his turtle shell, and never wanting to come out into the real world. This is most likely because of how sad he is about her mother, with whom he is still in love. One of the people Opal meets is Miss Franny Block, a kind and somewhat eccentric elder librarian, who tells her many great stories, including one involving a bear. Opal also meets Gloria Dump, a blind recovering alcoholic with a tree in her backyard that has beer bottles hanging from it. She calls it a 'mistake tree' and the bottles represent the ghosts of all the things she has done wrong. One day, fed up with Winn-Dixie, the landlord of the Bulonis' trailer park, Mr. Alfred, orders the preacher to get rid of the dog. The preacher calls the animal pound to take Winn-Dixie away, but Opal begs her father to keep her dog. Unable to see his daughter this upset, the preacher tells the pound to return Winn-Dixie, claiming that he is not the same dog he called about.
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Answer: Berger Picard

What is the full name of the person who was said to be pregnant by a laborer? Answer the above question based on the context below: From her Parkville jail cell, Vergie Winters watches the funeral procession of Senator John Shadwell and remembers her twenty-year past with him: The moment young lawyer John returns to Parkville from an extended honeymoon with his social climbing wife Laura, he visits Vergie, his former lover. After a passionate embrace, John explains to the youthful milliner that he had abandoned their romance because Vergie's father had told him that she was pregnant by laborer Hugo McQueen and would be forced to marry. Vergie then tells John that, to keep her from marrying John, Laura's father had paid her father $10,000 to tell him that devastating lie. Still deeply in love, John and Vergie continue to see each other, but when John starts to campaign for Congress, Preston, a political boss, informs Vergie that, if John is to receive his vital support, she must forego their affair. Although Vergie agrees to Preston's terms, John refuses to end the relationship and spends a long evening with her before the election. After a victorious win, John moves to Washington, D.C. with Laura, Vergie bears his child under an assumed name. John then adopts the baby, named Joan, whom he claims is the child of a destitute family friend. At the start of World War I, John returns to Parkville and once again resumes his affair with Vergie. When one of John's late night rendezvous is witnessed by a town gossip and reported to Mike Davey, John's only political enemy, Vergie's successful millinery shop is boycotted, and she is shunned by all but the local prostitutes. In addition, Davey hires Preston's son Barry to steal from Preston's home safe a page from a hotel register on which Vergie had written her assumed name. As Barry is breaking into his father's safe, however, Preston mistakes him for a burglar and kills him, but tells his butler that a burglar shot his son.
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Answer: Vergie Winters

What was the last name of the person who said that Liszt held an idealized view of the symphonic poem? Answer the above question based on the context below: Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought...
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Answer:
MacDonald