[Q]: The answer to the question: What were the last names of the two people who were contemporaries at the Royal Academy? is inside the article: Etty was fascinated with classical artworks such as those he had seen during his recent travels in Italy, and in particular with the Elgin Marbles, a set of major Ancient Greek sculptures taken to London in controversial circumstances in the early 19th century.The Combat: Woman Pleading for the Vanquished is a large painting, 399 cm (13 ft 1 in) across. It depicts a defeated soldier, kneeling in front of another soldier. The defeated fighter strains to free himself from the grip of the victorious warrior, who stands, raising a sword. A kneeling woman clutches the waist of the victorious soldier, raising her face to him to beg him to spare his defeated foe. The defeated warrior has a stronger body, a face more in keeping with the conventions of attractiveness at the time, and a more sympathetic expression, while the victorious man is darker skinned and has an expression of blank fierceness. The vanquished soldier's sword has broken, and lies beside him on the ground.Etty did not base The Combat on any single incident from history or literature, or on any existing artwork, but on his own imagination; this was a highly unusual step to take regarding history paintings, which generally depicted themes from literature or religion. He had been considering the topic as early as 1821, and his plans took shape following his visit to Italy. During this visit Etty had met Antonio Canova and been very impressed by him; The Combat is clearly influenced by his work. As well as drawing inspiration from classical sculpture, he was also strongly influenced by the composition of Old Master works he had seen while in Italy. As with many of Etty's works, the models posed for him separately in his studio, rather than as a group.Etty, writing in 1849, described the purpose of The Combat as "to paint a great moral on the heart [of] the beauty of mercy." Etty's 1958 biographer Dennis Farr points out similarities in the composition of The Combat and John Flaxman's drawing Heracles Killing a Man to whom a Woman Clings, but while Etty..., can you guess it ?
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[A]: Etty

[Q]: The answer to the question: What is the full name of the person who has recurring nightmares? is inside the article: College student Sarah Foster is found by the police, as she is sleepwalking in her nightgown on the road. Since the suicide of her husband Jonathon, who worked as a novelist, she is suffering from sleep disorder. A few days later, she talks to Dr Cooper, whose student she was, about the sleepwalking and a recurring nightmare, in which she is attacked by an unknown man. Cooper sends her to a therapy in a sleep laboratory. During a walk on a cemetery, Sarah talks about it with her room mate Dawn, who shows a personal interest in her professor Owen. Then an attractive man gets out of a black car and Sarah imagines him being a single. At the evening in the sleep laboratory, Dr. Koslov explains to her that her neuronal activity will be observed during the night. He also introduces her to Dr. Scott White, the director of the lab. It is the man whom Sarah has seen at the cemetery. He tells her, that a student was buried and he was there with a colleague. Sarah confides to him that she loved her husband, but not his work as a novelist. The next morning she wakes up in a different room after a silent, dreamless night. White takes her case. He reports about irregularities in the theta waves and asks her to spend some more nights in the lab. Sarah recognizes that something is wrong. In the lecture hall she questions the statement of her teacher, who thinks that love stories are just a dopamine kick or a bipolar disorder. But she is even more irritated when he addresses her as Miss Wells and a student repeats this name. Also Dawn, her driver's license, her diary and a dedication in her husband's book affirm this surname. Sarah is rejected by Cooper's assistant. In the sleep laboratory Dr Koslov shows her a protocol about her dream in which she is pursued. She denies having dreamed anything, but sees her signature on the form., can you guess it ?
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[A]: Sarah Foster

[Q]: The answer to the question: What is the first name of the person whose career was boosted when she met a conductor ? is inside the article: Kathleen Mary Ferrier, CBE (22 April 1912 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death. The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts. In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United..., can you guess it ?
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[A]:
Ferrier