Problem: What is the first name of the subject whose identification with the cathedral itself is emphasized by her monumental stature? Answer the above question based on the context below: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pacht describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type perhaps best known through Giotto's Ognissanti Madonna (c. 1310) and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 143436, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling...

A: Mary

Problem: What is the last name of the person who received a package? Answer the above question based on the context below: William "Bill" Boss, a psychopathic prison warden, watches the end of The Human Centipede 2 (Full Sequence) with his accountant, Dwight Butler. Bill says that he hates the films as his feet are massaged by his secretary, Daisy. Daisy replies that she enjoyed them. In response, Bill sucks his finger and inserts it into Daisy's vagina, telling her that women should not be allowed to voice their opinions. Dwight interrupts, attempting to pitch a "brilliant idea" to fix the prison's horrible retention and violence rates, but he is interrupted by a phone call. Bill and Dwight are then summoned to the scene of an assault within the prison. One of the officers has been stabbed by an inmate. As punishment, Bill decides to stomp on the arm of the prisoner, exposing the bone and causing immense pain. He promises to do it again when his bones are healed. Back in the Warden's office, Bill receives a mysterious package. After Dwight asks what it contains, Bill reveals that it is a jar of specially imported, dried African clitorises which he eats "for strength." After eating a few, he receives a threatening prank phone call from one of the inmates. Bill waterboards him with three buckets of boiling water, horribly disfiguring him. The inmate tells Bill that he has lost his soul. Governor Hughes arrives immediately afterwards, ordering Bill and Dwight to put a stop to the violence and promising that they will both be fired otherwise. In anger and retaliation, Bill orders a 'mass castration' of the inmates, and castrates one of the prisoners himself. He covers his face in the blood of the inmate and later eats the cooked testicles for lunch, calling it "Energy Food." Daisy is forced to perform fellatio on Bill while Dwight is in the room. Upon completing the act, Daisy eats one of the dried clitorises, mistaking them for candy.

A: Boss

Problem: What is the first name of the person who relies on lighting to achieve an underwater effect? Answer the above question based on the context below: Peter Hall directed the Bayreuth Ring after Chereau. His version, staged 198386, portrayed the natural innocence of the Rhinemaidens in the simplest of ways; they were naked. Keith Warner adapted this feature in his Ring production for the Royal Opera House Covent Garden, first staged 200406. A Covent Garden spokesman explained "The maidens are children of innocence, a vision of nature and as soon as someone appears they hastily throw on some clothes to protect their modesty." While Warner relies on lighting to achieve an underwater effect, Hall used a Pepper's ghost illusion: mirrors at a 45 angle made the Rhinemaidens appear to swim vertically when the performers were in fact swimming horizontally in a shallow basin.Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was Lilli Lehmann at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by Elisabeth Schwarzkopf. Other Bayreuth Rhinemaidens include Helga Dernesch who sang Wellgunde there between 1965 and 1967. Lotte Lehmann played Wellgunde at the Hamburg State Opera between 1912 and 1914 and the Vienna State Opera in 1916. Recorded Rhinemaidens have included Sena Jurinac for Furtwangler and RAI, Lucia Popp and Gwyneth Jones for Georg Solti, and Helen Donath and Edda Moser for Karajan.

A:
Keith