Question: What is the last name of the former prime minister who did not provide financial support for the leader of the Nimrod Expedition? Answer the above question based on the context below: Despite the public acclaim that had greeted Shackleton's achievements after the Nimrod Expedition in 19071909, the explorer was unsettled, becomingin the words of British skiing pioneer Sir Harry Brittain"a bit of a floating gent". By 1912, his future Antarctic plans depended on the results of Scott's Terra Nova Expedition, which had left Cardiff in July 1910, and on the concurrent Norwegian expedition led by Roald Amundsen. The news of Amundsen's conquest of the South Pole reached Shackleton on 11 March 1912, to which he responded: "The discovery of the South Pole will not be the end of Antarctic exploration". The next work, he said, would be "a transcontinental journey from sea to sea, crossing the pole". He was aware that others were in the field pursuing this objective. On 11 December 1911, a German expedition under Wilhelm Filchner had sailed from South Georgia, intending to penetrate deep into the Weddell Sea and establishing a base from which he would cross the continent to the Ross Sea. In late 1912 Filchner returned to South Georgia, having failed to land and set up his base. However, his reports of possible landing sites in Vahsel Bay, at around 78 latitude, were noted by Shackleton, and incorporated into his developing expedition plans.News of the deaths of Captain Scott and his companions on their return from the South Pole reached London in February 1913. Against this gloomy background Shackleton initiated preparations for his proposed journey. He solicited financial and practical support from, among others, Tryggve Gran of Scott's expedition, and the former Prime Minister Lord Rosebery, but received no help from either. Gran was evasive, and Rosebery blunt: "I have never been able to care one farthing about the Poles".Shackleton got support, however, from William Speirs Bruce, leader of the Scottish National Antarctic Expedition of 19021904, who had harboured plans for an Antarctic crossing since 1908, but had abandoned the project for lack of funds. Bruce generously allowed Shackleton to...
Answer: Rosebery
[Q]: What are the specific titles of the two separate works with identical names that were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses? Answer the above question based on the context below: Claudio Monteverdi, born in Cremona in 1567, was a musical prodigy who studied under Marc'Antonio Ingegneri, the maestro di cappella (head of music) at Cremona Cathedral. After training in singing, strings playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post as suonatore di vivuola (viola player) at Duke Vincenzo Gonzaga's court at Mantua. Through ability and hard work Monteverdi rose to become Gonzaga's maestro della musica (master of music) in 1601.Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of Florence. Towards the end of the 16th century innovative Florentine musicians were developing the intermedioa long-established form of musical interlude inserted between the acts of spoken dramasinto increasingly elaborate forms. Led by Jacopo Corsi, these successors to the renowned Camerata were responsible for the first work generally recognised as belonging to the genre of opera: Dafne, composed by Corsi and Jacopo Peri and performed in Florence in 1598. This work combined elements of madrigal singing and monody with dancing and instrumental passages to form a dramatic whole. Only fragments of its music still exist, but several other Florentine works of the same periodRappresentatione di Anima, et di Corpo by Emilio de' Cavalieri, Peri's Euridice and Giulio Caccini's identically titled Euridicesurvive complete. These last two works were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses, and as such were direct precursors of Monteverdi's L'Orfeo.The Gonzaga court had a long history of promoting dramatic entertainment. A century before Duke Vincenzo's time the court had staged Angelo Poliziano's lyrical drama La favola di Orfeo, at least half of which was sung rather than spoken. More recently, in 1598 Monteverdi had helped the court's musical establishment produce Giovanni Battista Guarini's play Il pastor fido, described...
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[A]: Euridice
input: Please answer the following: What was the full name of the person who was posing for Moore? Answer the above question based on the context below: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (192829), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London. In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to UkrainianPolish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire. Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to Americasome of whom would later commission works from Moore.
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output:
Irina Radetsky