[Q]: What is the full name of the person who is unable to move their leg?  Answer the above question based on the context below:  Ice skater Frances Marlowe, who has just signed a lucrative contract with an ice show, is driving with her manager, Dan Morton, when her car is struck by a truck. Dr. James Kildare and his fiancée, nurse Mary Lamont, see the accident and help the victims, who are only slightly hurt, except for Frances, who has a compound fracture of the leg and a ruptured spleen. Because Kildare is certain that Frances will die from internal bleeding if he does not operate immediately, he performs surgery before the ambulance arrives. Back at New York's Blair General Hospital, Kildare gives her a transfusion under the watchful eye of his diagnostician mentor, crusty Dr. Leonard Gillespie.  Morton arrives with an insurance investigator and overhears orderly Vernon Briggs joke about a half-empty whiskey bottle being found in the car Kildare borrowed from Molly Byrd, superintendent of nurses. Weeks later, when the cast is removed from Frances' leg, she is unable to move it. In hysterics she blames the paralysis on Kildare. Gillespie and Kildare have no idea what is causing the paralysis and are shocked when Frances sues Kildare and the hospital for malpractice. Kildare must face trial and Gillespie fears that a jury of laymen will side with the patient. Hospital administrator Dr. Carew wants to settle the case out of court, but Kildare insists on going through with it to protect his standing as a doctor.  During the trial, Frances' aggressive attorney establishes that the liquor bottle was found in the car to imply that Kildare had been drinking. Further testimony makes the case seem hopeless until Vernon, who first saw the bottle, suggests during a recess where it might have come from. Kildare goes to see the driver of the truck, who admits that he hid the bottle in Kildare's car because he did not want to be accused of driving drunk, but says that Frances could have prevented the collision but seemed "paralyzed."
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[A]: Frances Marlowe


[Q]: What college has an abstract sculpture by Hubert Dalwood on the lawn?  Answer the above question based on the context below:  The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose". The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from...
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[A]: Nuffield


[Q]: What is the last name of the person whose paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance?  Answer the above question based on the context below:  Stefan Lochner (the Dombild Master or Master Stefan; c. 1410 – late 1451) was a German painter working in the late "soft style" of the International Gothic. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence. Less is known of his life. Art historians associating the Dombild Master with the historical Stefan Lochner believe he was born in Meersburg in south-west Germany around 1410, and that he spent some of his apprenticeship in the Low Countries. Records further indicate that his career developed quickly but was cut short by an early death. We know that he was commissioned around 1442 by the Cologne council to provide decorations for the visit of Emperor Frederick III, a major occasion for the city. Records from the following years indicate growing wealth and the purchase of a number of properties around the city. Thereafter he seems to have over-extended his finances and fallen into debt. Plague hit Cologne in 1451 and there, apart from the records of creditors, mention of Stephan Lochner ends; it is presumed he died that year, aged around 40. Lochner's identity and reputation were lost until a revival of 15th-century art during the early 19th-century romantic period. Despite extensive historical research, attribution remains difficult; for centuries a number of associated works were grouped and loosely attributed to the Dombild Master, a notname taken from the Dombild Altarpiece (in English cathedral picture, also known as the Altarpiece of the City's Patron Saints) still in Cologne Cathedral....
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[A]:
Lochner