input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the first name of the person whose monumental stature reflects a tradition reaching back to an Italo-Byzantine type? 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...
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output: Mary

input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the full name of the person whose boyfriend is humiliated? The film begins in a parking lot in which a teenage filmmaker named Eric is attempting to document the faux-gangsta lifestyle enjoyed by Allison Lang and her boyfriend Toby's (Mike Vogel) gang of white upper-class teenagers living in the Pacific Palisades neighborhood. A brawl ensues between Toby's gang and another gang, which ends with both sides fleeing just before police arrive. Later that night, Toby's gang goes to a party at Eric's house, and Allison's relationship with Toby as well as her other friends Emily and Sam is further revealed. At the end of the party, Allison performs oral sex on her boyfriend. The next day, Allison meets with her father, Stuart, at work to discuss family problems, the awkward conversation revealing the virtually non-existent relationship Allison has with her parents. Afterwards, she and her friends drive downtown into East LA, intent on buying marijuana, eventually encountering Mexican drug dealer Hector and his crew. Toby and Hector make a deal, but Toby believes that Hector did not sell him enough for what he paid, and attempts to confront Hector, who pulls a gun on him, humiliating him in front of his friends. Allison persuades Hector to leave Toby alone.
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output: Allison Lang

input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the last name of the person who made her final festival appearance as a performer at the Snape Maltings Training Orchestra's inaugural festival concert? Holst had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears. From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works. Among choir members who later achieved individual distinction were the bass-baritone John Shirley-Quirk, the tenors Robert Tear and Philip Langridge, and the founder and conductor of the Heinrich Schutz Choir, Roger Norrington. Langridge remembered with particular pleasure a performance in Orford church of Thomas Tallis's forty-part motet Spem in alium, on 2 July 1963. When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schutz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister Grayston Burgess.On 2 June 1967 Holst shared the podium with Britten in the concert inaugurating the Aldeburgh Festival's new home at the Snape Maltings. From 1972 Holst was involved with the development of educational classes at the Maltings, which began with weekend singing classes and developed into the Britten-Pears School for Advanced Musical Studies, with its own training orchestra. By this time Imogen's performances at the festival had become increasingly rare, but in 1975 she conducted a concert of Gustav Holst's brass band music, held outdoors at Framlingham Castle. A report of the event described an evening of "persistent drizzle ... until a diminutive figure in a special scarlet dress took the conductor's baton. The band was transformed, and played Holst's Suite as it has never been played before".Britten had been in poor health since undergoing heart surgery in 1973, and on 4 December 1976 he died. Holst was unsure that she could maintain a working relationship with Pears alone, and on reaching the age of 70 in 1977, decided she would retire as artistic director after that year's festival. She made her...
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output: Holst

input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the last name of the person who felt life was no longer worth living? Employee John David Welles attempts to steal rocket booster plans from the Groundstar facility. His attempt goes awry and he is badly disfigured in an explosion and barely escapes. He stumbles to the home of Nicole Devon, and collapses. She calls an ambulance, the authorities are alerted, and soon Welles is operated on, given plastic surgery and interrogated by a hard-boiled government official named Tuxan. But Welles claims to have no memory of his crime. In fact, he claims no memory of his life at all, save for brief glimpses of a woman and small boy frolicking on a beach. Despite Tuxan's brutal interrogation techniques (electro-shock and water submersion), Welles still maintains his story of total amnesia. Tuxan allows Welles to escape, hoping he will lead them to the people behind the attempted theft. Welles goes to Nicole's home and begs her to help him remember. But she knows nothing. Eventually the inside conspirators behind the attempted theft are found, and Tuxan reveals the truth to Welles, who still cannot remember any details of the crime. John David Welles actually died en route to the hospital on the night of the explosion. The man we have come to know as Welles is really Peter Bellamy, a government employee who recently lost his wife and son in an accident. Bellamy, feeling that life was no longer worth living and remembering, volunteered to have his memory wiped and to play Welles in order to draw the conspirators into the open.
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output:
Bellamy