Read the following paragraph and extract the answer for the question: What is the last name of the person who left his children to be with Diana? Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment. As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely. Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently. Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion.
Ans: Gold

Read the following paragraph and extract the answer for the question: What is the name of the person that created "new and violent contrasts" between musical themes, keys, and harmonies? 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...
Ans: Tchaikovsky

Read the following paragraph and extract the answer for the question: What is the full name of the person who persuades a retired minister to help him start a new church? Euliss F. "Sonny" Dewey is a charismatic Pentecostal preacher. His wife Jessie has begun an adulterous relationship with a youth minister named Horace. She refuses Sonny's desire to reconcile, although she assures him that she will not interfere with his right to see his children. She has also conspired to use their church's bylaws to have him removed from power. Sonny asks God what to do but receives no answer. Much of the congregation sides with Jessie in this dispute. Sonny, however, refuses to start a new church, insisting that the one which forced him out was "his" church. At his child's Little League game, Sonny, in an emotional and drunken fit, attacks Horace with a bat and puts him into a coma; Horace later dies. A fleeing Sonny ditches his car in a river and gets rid of all identifying information. After destroying all evidence of his past, Sonny rebaptizes himself and anoints himself as "The Apostle E. F." He leaves Texas and ends up in the bayous of Louisiana, where he persuades a retired minister named Blackwell to help him start a new church. He works various odd jobs and uses the money to build the church, and to buy time to preach on a local radio station. Sonny also begins dating the station's receptionist. With Sonny's energy and charisma, the church soon has a faithful and racially integrated flock. Sonny even succeeds in converting a racist construction worker who shows up at a church picnic intent on destruction. While at work in a local diner, Sonny sees his new girlfriend out in public with her husband and children, apparently reconciled. Sonny walks out, vowing never to return there.
Ans: Euliss F. "Sonny" Dewey

Read the following paragraph and extract the answer for the question: Who owns the wall that inspires the eccentric painter's piece "The Raising of Lazarus"? Eccentric painter Gulley Jimson is released from a one-month jail sentence for telephone harassment of his sponsor, Mr Hickson. Nosey Barbon, who wants to be Jimson's protege, greets Jimson at HM Prison Wormwood Scrubs, but Jimson tries to discourage Nosey from pursuing painting for a living. Jimson goes to his houseboat, which his older lady friend Coker has been maintaining in his absence. Jimson tries to borrow money from Hickson and Coker. Jimson and Coker later visit Hickson to secure payment for Jimson's artwork. Jimson tries to steal works back from Hickson's place but Coker stops him. Hickson calls the police, but Jimson and Coker escape. Jimson responds to a note from A. W. Alabaster, secretary to Sir William and Lady , who are interested in acquiring Jimson's early artworks. Jimson and Coker try to secure one of those works from Sara Monday, Jimson's ex-wife, but she turns them down. When Jimson visits the Beeders, he sees a blank wall in their residence and is inspired to paint "The Raising of Lazarus". He learns that the Beeders are leaving for six weeks, and takes advantage of their absence to execute the painting. An old artistic rival, Abel, intrudes on Jimson to bring in a large block of marble to fulfil a sculpture commission for British Rail. Jimson pawns the Beeders' valuables, and Abel and Jimson accidentally destroy part of the Beeders' floor when the marble is dropped. After Jimson has completed the painting, the Beeders return. Shocked by the painting, they fall through the hole in the floor.
Ans: the Beeders