Read the following paragraph and extract the answer for the question: What areas are identified as centres of population for ethnic minorities? Manchester has a disproportionately high number of gay and lesbian people. Of all households in Manchester, 0.23% were Same-Sex Civil Partnership couple households, compared to the English national average of 0.16% in 2011.In terms of ethnic composition, the City of Manchester has the highest non-white proportion of any district in Greater Manchester. Statistics from the 2011 census showed that 66.7% of the population was White (59.3% White British, 2.4% White Irish, 0.1% Gypsy or Irish Traveller, 4.9% Other White although those of mixed European and British ethnic groups is unknown; there are reportedly over 25,000 Mancunians of at least partial Italian descent alone which represents 5.5% of the city's population). 4.7% were mixed race (1.8% White and Black Caribbean, 0.9% White and Black African, 1.0% White and Asian, 1.0% Other Mixed), 17.1% Asian (2.3% Indian, 8.5% Pakistani, 1.3% Bangladeshi, 2.7% Chinese, 2.3% Other Asian), 8.6% Black (5.1% African, 1.6% Other Black), 1.9% Arab and 1.2% of other ethnic heritage.Kidd identifies Moss Side, Longsight, Cheetham Hill, Rusholme, as centres of population for ethnic minorities. Manchester's Irish Festival, including a St Patrick's Day parade, is one of Europe's largest. There is also a well-established Chinatown in the city with a substantial number of oriental restaurants and Chinese supermarkets. The area also attracts large numbers of Chinese students to the city who, in attending the local universities, contribute to Manchester having the third-largest Chinese population in Europe.The Manchester Larger Urban Zone, a Eurostat measure of the functional city-region approximated to local government districts, has a population of 2,539,100 in 2004. In addition to Manchester itself, the LUZ includes the remainder of the county of Greater Manchester. The Manchester LUZ is the second largest within the United Kingdom, behind that of London.
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Answer: Cheetham Hill
Q: Read the following paragraph and extract the answer for the question: What is the full name of the person whose family, unable to nurse him any longer, removed him to the Katerinky Lunatic Asylum in Prague? In 1879, Smetana had written to a friend, the Czech poet Jan Neruda, revealing fears of the onset of madness. By the winter of 188283 he was experiencing depression, insomnia, and hallucinations, together with giddiness, cramp and a temporary loss of speech. In 1883 he began writing a new symphonic suite, Prague Carnival, but could get no further than an Introduction and a Polonaise. He started a new opera, Viola, based on the character in Shakespeare's Twelfth Night, but wrote only fragments as his mental state gradually deteriorated. In October 1883 his behaviour at a private reception in Prague disturbed his friends; by the middle of February 1884 he had ceased to be coherent, and was periodically violent. On 23 April his family, unable to nurse him any longer, removed him to the Katerinky Lunatic Asylum in Prague, where he died on 12 May 1884. The hospital registered the cause of death as senile dementia. However, Smetana's family believed that his physical and mental decline was due to syphilis. An analysis of the autopsy report, published by the German neurologist Dr Ernst Levin in 1972, came to the same conclusion. Tests carried out by Prof. Emanuel Vlcek in the late 20th century on samples of muscular tissue from Smetana's exhumed body provided further evidence of the disease. However, this research has been challenged by Czech physician Dr Jiri Ramba, who has argued that Vlcek's tests do not provide a basis for a reliable conclusion, citing the age and state of the tissues and highlighting reported symptoms of Smetana's that were incompatible with syphilis.Smetana's funeral took place on 15 May, at the Tyn Church in Prague's Old Town. The subsequent procession to the Vysehrad Cemetery was led by members of the Hlahol, bearing torches, and was followed by a large crowd. The grave later became a place of pilgrimage for musical visitors to Prague. On the funeral evening, a scheduled performance of The Bartered Bride at the National Theatre was allowed to proceed, the stage draped with black cloth as a...
A: Bedrich Smetana
Read the following paragraph and extract the answer for the question: What is the full name of the person who built on Friedlander's attempts at attribution, but focused more on social history and religious iconography? The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedlander's pioneering Meisterwerke der Niederlandischen Malerei des 15. und 16. Jahrhunderts. Friedlander focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedlander's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance. Panofsky was one of the first art historians to abandon formalism. He built on Friedlander's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pacht and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the...
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Answer:
Erwin Panofsky