[Q]: I have a test where I am given the following article, what is an answer for the question: What's the full name of the friend Huo loses? ? The movie begins with Huo Yuanjia fighting and defeating three Westerners: a British boxer, a Belgian lancer, and a Spanish fencer. While waiting for the fourth match to begin, Huo remembers his father Huo Endi teaching martial arts. The story is then told in an extended flashback. Watching his father fight, the young Yuanjia wants to participate, but his father is concerned about his asthma. Yuanjia sees his father in a match with Zhao, who dishonorably won by retaliating when Huo Endi held back a fatal blow. Humiliated by his father's defeat, Huo Yuanjia vows to regain the Huo family's honor and pride. He practices martial arts behind his father's back. As time goes by, Huo Yuanjia defeats several opponents (including Zhao's son) and becomes a famous martial artist in Tianjin. As he becomes successful, he grows arrogant and ruthless towards his opponents, unlike his late father who advocated showing mercy to opponents. This also leads to Huo gaining many followers and getting himself into financial trouble by spending his family's money on drinking and partying. When a rival martial arts master named Qin Lei injures one of his followers, Huo feels insulted and confronts Qin on his birthday, at a restaurant owned by Huo's childhood friend, Nong Jinsun. Failing to dissuade his friend from fighting and fed up with his ruthless behavior, Jinsun ends his friendship with Huo. The confrontation escalates into a fight that ends with Qin's death. Qin's godson seeks vengeance and kills Huo's mother and daughter. Huo goes to Qin's house, where Qin's godson admits to the murders before killing himself. Huo learns that it was his follower who had insulted and provoked Qin, which caused Qin to beat him.
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[A]: Nong Jinsun

[Q]: I have a test where I am given the following article, what is an answer for the question: What is the first name of the person who was forced into a more active role? ? In late 1854 or early 1855 James Robertson married Beato's sister, Leonilda Maria Matilda Beato. They had three daughters, Catherine Grace (b. 1856), Edith Marcon Vergence (b. 1859), and Helen Beatruc (b. 1861).In 1855 Felice Beato and Robertson travelled to Balaklava, Crimea, where they took over reportage of the Crimean War following Roger Fenton's departure. Beato was ostensibly Robertson's assistant, however the unpredictable conditions of a war-zone forced Beato to assume a more active role. In contrast to Fenton's depiction of the dignified aspects of war, Beato and Robertson showed the destruction and death. They photographed the fall of Sevastopol in September 1855, producing about 60 images. Their Crimean images dramatically changed the way that war was reported and depicted.In February 1858 Beato arrived in Calcutta and began travelling throughout Northern India to document the aftermath of the Indian Rebellion of 1857. During this time he produced possibly the first-ever photographic images of corpses. It is believed that for at least one of his photographs taken at the palace of Sikandar Bagh in Lucknow he had the skeletal remains of Indian rebels disinterred or rearranged to heighten the photograph's dramatic impact (see events at Taku Forts). He was also in the cities of Delhi, Cawnpore, Meerut, Benares, Amritsar, Agra, Simla, and Lahore. Beato was joined in July 1858 by his brother Antonio, who later left India, probably for health reasons, in December 1859. Antonio ended up in Egypt in 1860, setting up a photographic studio in Thebes in 1862.
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[A]: Felice

[Q]: I have a test where I am given the following article, what is an answer for the question: Whose company does George Salt want to takeover? ? Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first. Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka. Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
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[A]: Mr. Carew

[Q]: I have a test where I am given the following article, what is an answer for the question: What is the name of the person that composed the Fourth Symphony? ? 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...
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[A]:
Tchaikovsky