Q: The following article contains an answer for the question: What is the name of the person who has decided not to leave Sam any money? , can you please find it? Sam Harper, a struggling corporate trader in New York City, is in trouble after one of his deals violates federal law and the Federal Trade Commission threatens him with an investigation. Sam's boss urges him to bribe federal officials, at Sam's own expense. Returning home, Sam learns from his girlfriend Hannah that Jerry, his estranged father, has died in L.A. of cancer. Sam tries to avoid attending the funeral, but Hannah insists on making arrangements. After flying home to L.A., he stays with Hannah at Jerry's house and has a tense reunion with his mother Lillian. Sam meets with his father's lawyer and friend, who tells him that the will leaves Sam no money. However, the lawyer hands him a shaving kit. Inside is $150,000 in cash and a note stipulating that the money be delivered to "Josh Davis." Josh turns out to be a troubled 11-year-old whose single mother, Frankie Davis, is a recovering alcoholic and bartender. Sam secretly follows Frankie to an Alcoholics Anonymous meeting, where she reveals to the group that she is Jerry's illegitimate daughter. Sam realizes that Frankie is his paternal half-sister, and Josh his nephew. Sam tells Hannah the news, and his intention of keeping the money for himself. This disgusts her, and she returns to New York, leaving Sam with Lillian.
A: Jerry
Question: The following article contains an answer for the question: What is the name of the person that composed the Fourth Symphony? , can you please find it? Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed...
Answer: Tchaikovsky
Question: The following article contains an answer for the question: What is the full name of the person whose portrait was painted by Sir Arthur Cope? , can you please find it? The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose". The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from...
Answer:
Lord Nuffield