Question: The following article contains an answer for the question: What is the full name of the person who expressed that "In the sixties rock and roll began to think of itself as an 'art form'"? , can you please find it?   Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980....
Answer: Lester Bangs

Question: The following article contains an answer for the question: What, instead, investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision? , can you please find it?   More recent research from art historians such as Lorne Campbell relies on X-ray and infrared photography to develop an understanding of the techniques and materials used by the painters. The conservation of the Ghent Altarpiece in the mid-1950s pioneered methodologies and scholarship in technical studies. Examination of paint layers and underlayers was later applied to other Netherlandish works, allowing for more accurate attributions. Van Eyck's work, for example, typically shows underdrawings unlike Christus' work. These discoveries, too, hint at the relationships between the masters of the first rank and those in the following generations, with Memling's underdrawings clearly showing van der Weyden's influence.Scholarship since the 1970s has tended to move away from a pure study of iconography, instead emphasizing the paintings' and artists' relation to the social history of their time. According to Craig Harbison, "Social history was becoming increasingly important. Panofsky had never really talked about what kind of people these were." Harbison sees the works as objects of devotion with a "prayer book mentality" available to middle-class burghers who had the means and the inclination to commission devotional objects. Most recent scholarship is moving away from the focus on religious iconography; instead, it investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision. James Marrow thinks the painters wanted to evoke specific responses, which are often hinted at by the figures' emotions in the paintings.
Answer: recent scholarship

Question: The following article contains an answer for the question: Whose wife dies of a heart attack? , can you please find it?   Larry Lipton and his wife Carol meet their older neighbors Paul and Lillian House in the elevator in a pleasant encounter. But the next night, Lillian is found to have died of a heart attack. The Liptons are surprised by the death because Lillian seemed so healthy. The Liptons are also surprised by Paul's cheerfulness so soon after his wife's death. Carol becomes suspicious and starts to investigate, even inventing an excuse to visit him. An urn she finds in Paul's apartment contradicts Paul's story that Lillian had been buried. Larry becomes frustrated with Carol, telling her she's "inventing a mystery". Carol sneaks into Paul's apartment while he's away and finds more telling signs. Lillian's urn is missing, there are two tickets to Paris and hotel reservations with a woman named Helen Moss. Carol calls Ted, a close friend who agrees with Carol's suspicions and urges her to keep snooping. When Paul returns unexpectedly, Carol hides under the bed and overhears Paul's conversation with a woman whom she suspects is Helen Moss. Later, Ted tracks down where Helen Moss lives, and with Carol and Larry, they follow her to a theater owned by Paul. They discover that Helen is a young actress. The three eavesdrop on Paul and Helen talking about money. A few days later, Carol spots a woman who's a dead ringer for the supposedly dead Lillian House on a passing bus. Upon Larry's suggestion that Lillian has a twin, Ted investigates but finds Lillian has none. Larry and Carol trace this mystery "Lillian" to a hotel and, under the pretense of delivering a personal gift, they enter her hotel room, but find her lying dead on the bedroom floor. They call the police, who subsequently find no trace of the dead body.
Answer:
Paul