Given the following context:  Scarpia's apartment in the Palazzo Farnese, that evening Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning.  He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace. She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything.  Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa. Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He's devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an upset on the battlefield at Marengo, and the French are marching on Rome. Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be shot. Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: "Vissi d'arte" ("I lived for art"). She tries to offer money, but Scarpia isn't interested in that kind of bribe: he wants Tosca herself. Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia...  answer the following question:  What is the name of the person who hears the drums outside announcing an execution while repeatedly rejecting Scarpia's advances?
Ans: Tosca

Given the following context:  In 1943, a British naval officer from Canada, Commander Bolton and a few surviving crew members of his 50-man submarine Gauntlet swim ashore after unsuccessfully attacking German battleship Lindendorf. After a review, Captain Bolton is cleared of any wrongdoing and placed in charge of a small group of experimental X class submarines. Bolton is assigned by Vice-Admiral Redmayne to quickly train crews to man the submarines and sink the Lindendorf while it is hidden away in a Norwegian fiord. Commander Bolton is to train three 4-man crews along the northern coast of Scotland for a trio of midget submarines equipped with side cargoes of explosives. He must overcome tensions with some of his former crew members, while keeping their activities hidden from outsiders and German airplanes. The crews successfully fend off an attack by German parachute commandos, who discover their base. Bolton is forced to make hasty preparations for his attack before their submarine base can be destroyed. Two of the submarines are lost while attempting to cut through submarine nets at the entrance to the fiord. X-2, is sunk by a German E-boat's depth charges, and a second, the X-1, is scuttled. One submarine crew is captured and taken to the German battleship for interrogation. X-3, the surviving submarine penetrates the submarine nets in the fiord and places explosives under the German battleship. The submarine then manages to escape as the battleship explodes.  answer the following question:  What is the name of the submarine that attacked the battleship in 1943?
Ans: Gauntlet

Given the following context:  The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer 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 Friedländer'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 Friedländer'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 Pächt 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...  answer the following question:  What is the first name of the the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap?
Ans: Erwin