Question: What is the nickname of the person that gives the firing notice to the man who can't find his favorite mug? Answer the above question based on the context below: Derek Cho, the film's protagonist, tells the audience about the ID-7 virus, or "Red Eye" virus, that has been spreading throughout the world. It infects neural pathways, removing all inhibition and moral integrity, and in turn, causing people to act out their darkest impulses. While the virus is not lethal, those infected by the virus may find themselves driven to kill. The first known case of murder driven by ID-7 was committed by Nevil Reed, who stabbed a coworker, but was not deemed liable due to the influence of the virus. Derek, a lawyer at Towers and Smythe Consulting, works for the firm that handled Reed's case; he began his job full of optimism, but ended up back-stabbing, cheating, and finding loophole after loophole in order to work his way up the corporate ladder and get a corner office. One morning, Derek goes into work to find that his favorite mug is missing, and meets with a furious client - Melanie Cross - who needs more time on a loan, but thinks he's unable to help her. After discovering that a bungled legal case for massive company Vandacorp has been pinned on him by his superior Cara (called "The Siren", as she always has the boss's ear), Derek confronts her and finds that she has taken his mug. They go up to their boss John Towers' office to plead their cases, but Cara wins the boss over and has Derek laid off. Derek's friend Ewan is unable to help him, and he is given official notice of his firing by his coworker "The Reaper". Derek takes his things and is escorted downstairs by company security, dejected and afraid of being disbarred.
Answer: The Reaper
[Q]: What is the full name of the birds that returned through Sudan? Answer the above question based on the context below: After the demise of the migratory Turkish colony, the northern bald ibis was known to survive in the wild only at the Moroccan sites, although occasional sightings of birds in Yemen, Eritrea, Saudi Arabia, and Israel during the 1980s and 1990s suggested that there was still a colony somewhere in the Middle East. Intensive field surveys in spring 2002, based on the knowledge of Bedouin nomads and local hunters, revealed that the species had never become completely extinct on the Syrian desert steppes. Following systematic searches, 15 old nesting sites were found, one, near Palmyra, was still hosting an active breeding colony of seven individuals. Although the ibis had been declared extinct in Syria more than 70 years earlier, the bird appears to have been relatively common in the desert areas until 20 years ago, when a combination of overexploitation of its range lands and increasing hunting pressures initiated a dramatic decline.The Moroccan breeding birds are resident, dispersing along the coast after the nesting season. It has been suggested that coastal fog provides extra moisture for this population, and enables the ibises to remain year-round. In the rest of its former range, away from the Moroccan coastal locations, the northern bald ibis migrated south for the winter, and formerly occurred as a vagrant to Spain, Iraq, Egypt, the Azores, and Cape Verde.Satellite tagging of 13 Syrian birds in 2006 showed that the three adults in the group, plus a fourth untagged adult, wintered together from February to July in the highlands of Ethiopia, where the species had not been recorded for nearly 30 years. They travelled south on the eastern side of the Red Sea via Saudi Arabia and Yemen, and returned north through Sudan and Eritrea.
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[A]: northern bald ibis
input: Please answer the following: What Republics did the Rova compound remained largely closed to the public, except on special occasions? Answer the above question based on the context below: The 1896 French colonisation of Madagascar brought an end to the rule of the Merina sovereigns. The Rova of Antananarivo was converted into a museum the following year, and the Fitomiandalana tombs were excavated and moved to a new location behind the tombs of Radama I and Rasoherina. The bodies of sovereigns previously interred in the royal tombs at Ambohimanga were exhumed and transferred to the tombs in the Rova grounds, a sacrilegious move that degraded the status of Ambohimanga as a site of sacred pilgrimage. According to Fremigacci (1999), French colonial administrator General Joseph Gallieni undertook this desacralisation of the Rova in an attempt to break popular belief in the power of the royal ancestors. By the same token, his actions relegated Malagasy sovereignty under the Merina rulers to a relic of an unenlightened past. The desecration of the two most sacred sites of Merina royalty represented a calculated political move intended to establish the political and cultural superiority of the colonial power.Following independence the Rova compound remained largely closed to the public throughout the First (19601972) and Second (19751992) Republics except on special occasions. In 1995, three years into the Third Republic (19922010), the Rova compound was destroyed by fire. The tombs, chapel, exterior of Manjakamiadina and two traditional wooden houses (Besakana and Mahitsy) have since been restored with further restorations planned to continue until at least 2013.
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output: Second
input: Please answer the following: What, instead, investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision? Answer the above question based on the context below: More recent research from art historians such as Lorne Campbell relies on X-ray and infrared photography to develop an understanding of the techniques and materials used by the painters. The conservation of the Ghent Altarpiece in the mid-1950s pioneered methodologies and scholarship in technical studies. Examination of paint layers and underlayers was later applied to other Netherlandish works, allowing for more accurate attributions. Van Eyck's work, for example, typically shows underdrawings unlike Christus' work. These discoveries, too, hint at the relationships between the masters of the first rank and those in the following generations, with Memling's underdrawings clearly showing van der Weyden's influence.Scholarship since the 1970s has tended to move away from a pure study of iconography, instead emphasizing the paintings' and artists' relation to the social history of their time. According to Craig Harbison, "Social history was becoming increasingly important. Panofsky had never really talked about what kind of people these were." Harbison sees the works as objects of devotion with a "prayer book mentality" available to middle-class burghers who had the means and the inclination to commission devotional objects. Most recent scholarship is moving away from the focus on religious iconography; instead, it investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision. James Marrow thinks the painters wanted to evoke specific responses, which are often hinted at by the figures' emotions in the paintings.
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output:
recent scholarship