What is the full name of the person who has past traumas dredged up? Answer the above question based on the context below: Set in the town of Wetherby in West Yorkshire, the film focuses on Jean Travers, a middle-aged spinster schoolteacher. One evening, she invites married friends for a dinner party, only to have some terrible repressions and past traumas dredged up when guest John Morgan expresses his emotional pain. The strange young man arrives at Jean's cottage the next morning with a gift of pheasants. While sitting at the kitchen table waiting for tea, he puts the barrel of a gun in his mouth and kills himself. From this point onward, the film's story is told in chronologically discrete, interlocking flashbacks to the recent and distant past, showing actions and events as seen and experienced from various points of view. The central mystery of Morgan's suicide is the fulcrum around which the narrative turns. The narrative construction of the film resembles a jigsaw puzzle and, in keeping with Hare's style of exposition, frequently appears to have key pieces missing. There are further scenes of the dinner party as well as scenes of the police investigation into the suicide. We learn Morgan had not been an invited guesthe walked in with others who assumed he was an acquaintance of Jean's, and Jean assumed that her friends had brought him with them.
Ans: Jean Travers

What is the first name of the subject enveloped by a "throne room" as if it were a "carrying case"? 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...
Ans: Mary

What is the last name of the person who lived with his mother and three older siblings? Answer the above question based on the context below: Johnston was born on 23 September 1994 in Dumfries, Scotland, the son of Andrew Johnston and Morag Brannock. He was given the extensive name Andrew Aaron Lewis Patrick Brannock John Grieve Michael Robert Oscar Schmidt Johnston. Johnston's parents separated when he was eight months old, and from that time he lived with his mother and three older siblings in Carlisle, Cumbria, in the north of England, where he attended Trinity School. Johnston tried out for Carlisle Cathedral Choir at the age of six at the recommendation of Kim Harris, a teacher at his primary school. He was auditioned by the choirmaster Jeremy Suter and accepted into the choir at the age of seven. Johnston's mother, who had no previous association with the cathedral, described her feelings of being overwhelmed by emotion at having her boy singing in such a "stunning building among those extraordinary voices". His mother also described Johnston's busy regimen of practice four times a week and all day Sundays, saying that it took up all of their spare time. However, she said that the cathedral staff became like a family to her son, and that "it was such a lovely, safe, close feeling for him". Johnston, who attended Trinity School, was subject to abuse and threats from bullies which drove him to contemplate quitting the choir, but he was helped through the ordeal by his choirmaster and the dean and canons of the cathedral. By the time of his participation in Britain's Got Talent, Johnston was head chorister.In September 2008, after his appearance on Britain's Got Talent but before the release of his first album, Johnston embarked on a tour of Norway with the choir, performing at Stavanger Cathedral and Utstein Abbey, among other places. The tour was conceived because the Diocese of Stavanger is connected with the Diocese of Carlisle through the Partnership for World Mission. This was Johnston's last tour with the choir. Johnston features as head chorister on one of the choir's albums, The Choral Music of F.W Wadely, released in November 2008.
Ans: Johnston