Q: Given the below context:  In 1861 Saint-Saëns accepted his only post as a teacher, at the École de Musique Classique et Religieuse, Paris, which Louis Niedermeyer had established in 1853 to train first-rate organists and choirmasters for the churches of France. Niedermeyer himself was professor of piano; when he died in March 1861, Saint-Saëns was appointed to take charge of piano studies. He scandalised some of his more austere colleagues by introducing his students to contemporary music, including that of Schumann, Liszt and Wagner. His best-known pupil, Gabriel Fauré, recalled in old age: After allowing the lessons to run over, he would go to the piano and reveal to us those works of the masters from which the rigorous classical nature of our programme of study kept us at a distance and who, moreover, in those far-off years, were scarcely known. ... At the time I was 15 or 16, and from this time dates the almost filial attachment ... the immense admiration, the unceasing gratitude I [have] had for him, throughout my life. Saint-Saëns further enlivened the academic regime by writing, and composing incidental music for, a one-act farce performed by the students (including André Messager). He conceived his best-known piece, The Carnival of the Animals, with his students in mind, but did not finish composing it until 1886, more than twenty years after he left the Niedermeyer school.In 1864 Saint-Saëns caused some surprise by competing a second time for the Prix de Rome. Many in musical circles were puzzled by his decision to enter the competition again, now that he was establishing a reputation as a soloist and composer. He was once more unsuccessful. Berlioz, one of the judges, wrote: We gave the Prix de Rome the other day to a young man who wasn't expecting to win it and who went almost mad with joy. We were all expecting the prize to go to Camille Saint-Saëns, who had the strange notion of competing. I confess I was sorry to vote against a man who is truly a great artist and one who is already well known, practically a celebrity....  Guess a valid title for it!
A: Camille Saint-Saëns

Q: Given the below context:  On 6 September 1950, an isolated and exhausted platoon of the 24th Infantry Division is cut off. In addition to losing radio contact, the platoon is harassed by unseen North Korean infiltrators who silently kill the Americans and take their weapons. Platoon leader Lieutenant Benson has only vague instructions to reach a certain hill to link up with American forces. The patrol stops a jeep driven by Staff Sergeant "Montana" (Aldo Ray) and shell shocked passenger "the Colonel" (Robert Keith) from the First Cavalry Division. The Colonel is unable to speak and is tied to his seat. After the Battle of the Nakdong River, where "our men fell like rain", the tough experienced Montana decided he and his Colonel, whom he treats like his father, have had enough of the war. Benson commandeers their jeep for his platoon's equipment and the battle-fatigued Corporal Zwickley. The platoon makes its way towards the hill. Montana disobeys Benson by instinctively shooting a surrendering North Korean sniper, who turns out to have a concealed weapon inside his hat. Sergeant Killian is killed while covering the rear after absentmindedly filling his helmet net with flowers. Montana takes his place and feigns fatigue, luring the infiltrators into the open, where he kills them. The cynical Montana transforms the platoon back into a military formation while also curing Zwickley's neurosis by slapping him around. The platoon successfully carries on through sniper attack, artillery barrage, and land mines during which Platoon Sergeant Lewis panics and is killed.  Guess a valid title for it!
A: Men in War

Q: Given the below context:  William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as...  Guess a valid title for it!
A:
Britomart Redeems Faire Amoret