Q: Read the following paragraph and extract the answer for the question: What is the last name of the person that discovered the manuscript that is described by Ellen Rosand as something that "bristles with the immediacy of a performance"? The main sources for the story told in Busenello's libretto are the Annals of Tacitus; book 6 of Suetonius's history The Twelve Caesars; books 6162 of Dio Cassius's Roman History; and an anonymous play Octavia (once attributed to the real life Seneca), from which the opera's fictional nurse characters were derived. The main story is based on real people and events. According to the analyst Magnus Schneider, the character of Drusilla was taken from Girolamo Bargagli's 16th-century comedy The Pilgrim Woman.Busenello condensed historical events from a seven-year period (AD 58 to AD 65) into a single day's action, and imposed his own sequence. He was open about his intention to adapt history for his own purposes, writing in the preface to his libretto that "here we represent these actions differently." Thus he gave his characters different attributes from those of their historical counterparts: Nerone's cruelty is downplayed; the wronged wife Ottavia is presented as a murderous plotter; Seneca, whose death in reality had nothing to do with Nerone's liaison with Poppea, appears as more noble and virtuous than he was; Poppea's motives are represented as based on genuine love as much as on a lust for power; the depiction of Lucano as a drunken carouser disguises the real life poet Lucan's status as a major Roman poet with marked anti-imperial and pro-republican tendencies.The libretto has survived in numerous formstwo printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production. One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri. This manuscript,...
A: Fabbri
Question: Read the following paragraph and extract the answer for the question: Who refuses to help the former chambermaid? In the late 1830s, when much of the Old West was still Mexican territory, four people are traveling through the deserts, north of Texas and a three-day ride from Santa Fe. One the Scalphunter, who says his trade is being a "buffaler" (buffalo hide trader). He is in search of gold. The others are a former ship Captain, also in search of the gold; the Woman from England, a former chambermaid who, in exchange for ship's passage to America, has signed an agreement to serve the Captain for five years as an indentured servant; and Mr. Rainbow, a former soldier who killed Indians. The Captain sets out to find some of Montezuma's gold, risking danger from both the Native Indians and Mexican soldiers. The woman wants to get out of her contract with the Captain and go to New Orleans. She asks Mr. Rainbow to take her there, but he turns her down. The Scalphunter wants half of the Captain's gold, and tags along with his men. Mr. Rainbow sets out across the desert through the Viaje de la Muerte, the Journey of Death.
Answer: Mr. Rainbow
[Q]: Read the following paragraph and extract the answer for the question: What is the full name of the person whose form of transport is a 1963 Nissan Cedric? In his first leading role Ben Mendelsohn plays Danny Clark, a bumbling eighteen-year-old guy. He knows what it takes to be cool and have some style, it is just that he seems to struggle to get there. Danny has enthusiasm and passion and only wants two things more than anything in the world. A Jaguar XJ6 and a date with the gorgeous Joanna Johnson (an early role for then 17-year-old Claudia Karvan). Get these and his life will be complete. Unfortunately for Danny, when he finally gets the courage up to ask Joanna out, he somehow manages to promise her a ride in his new Jaguar. She is not particularly impressed by cars, but still agrees to his invitation. The problem is, Danny does not own a Jaguar. His form of transport is his recently received birthday present - and it most certainly is not a Jaguar. His eccentric parents have decided to pass on their pride and joy to Danny for his use. Their 1963 Nissan Cedric has been in the family for years and is immaculate but extremely uncool. Danny is aghast at the thought of driving around in a car as dorky as a Cedric and, with the promise of a date with Joanna and the need for a Jaguar in a hurry, decides to trade in the old Nissan. He heads out to search the car yards to find his dream machine.
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[A]: Danny Clark
Question: Read the following paragraph and extract the answer for the question: What is the last name of the person who moved with the intention of becoming a history painter in the tradition of the Old Masters? William Etty (17871849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Answer:
Etty