[Q]: Given the below context:  Writing in 1952, after the first section of the buildings was complete, J. M. Richards, the editor of the Architectural Review, said that Nuffield was "a large-scale example of period-style architecture which has no justification whatever on grounds of consideration for the neighbours and represents missed opportunity of a really tragic kind". As the site was away from the "ancient colleges" of the city centre and in an area of "undistinguished nineteenth century commercial building", there had been a "rare opportunity" of building something "belonging ... to the twentieth century, and of showing that Oxford does not live only in the past". He said that the "compromise between contemporary needs and what is imagined to be the English collegiate tradition is quite unworthy of the educational enterprise the new foundation represents". He was, however, "thankful" that the building used smooth-faced stone "in the proper Oxford style" rather than rubble facing, which he said had been used elsewhere in Oxford "with extraordinarily unpleasing results".The architectural correspondent of The Times wrote that the architecture of the college was incongruous – it was "remarkable" that a college with connections to modern industry should be looking backwards in this way.  "That a college devoted to modern scientific studies should be dressed up [in the style of an antique Cotswold manor house] has already been the subject of puzzled comment by many foreign visitors to Oxford." Writing in The Observer, Patience Gray also disliked the college's design, referring to the "Cotswold dementia" of the architecture, and the college's "pokey windows and grotesque sugarloaf tower." The chapel was described by the travel writer Jan Morris as "one of the sweetest little sanctuaries in Oxford"; "very simple, almost stern" with a contrast between the black and white pews and the "rich colour" of the stained glass. However, she said that whilst Oxford colleges change in style over time as buildings are added or altered, "Nuffield was a...  Guess a valid title for it!
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[A]: Buildings of Nuffield College, Oxford


[Q]: Given the below context:  Although the Silk Road from China to Europe and the Western World was initially formulated during the reign of Emperor Wu (141–87 BC) during the Han, it was reopened by the Tang in 639 when Hou Junji (d. 643) conquered the West, and remained open for almost four decades. It was closed after the Tibetans captured it in 678, but in 699, during Empress Wu's period, the Silk Road reopened when the Tang reconquered the Four Garrisons of Anxi originally installed in 640, once again connecting China directly to the West for land-based trade. The Tang captured the vital route through the Gilgit Valley from Tibet in 722, lost it to the Tibetans in 737, and regained it under the command of the Goguryeo-Korean General Gao Xianzhi. When the An Lushan Rebellion ended in 763, the Tang Empire had once again lost control over its western lands, as the Tibetan Empire largely cut off China's direct access to the Silk Road. An internal rebellion in 848 ousted the Tibetan rulers, and Tang China regained its northwestern prefectures from Tibet in 851. These lands contained crucial grazing areas and pastures for raising horses that the Tang dynasty desperately needed.Despite the many expatriate European travelers coming into China to live and trade, many travelers, mainly religious monks and missionaries, recorded the strict border laws that the Chinese enforced. As the monk Xuanzang and many other monk travelers attested to, there were many Chinese government checkpoints along the Silk Road that examined travel permits into the Tang Empire. Furthermore, banditry was a problem along the checkpoints and oasis towns, as Xuanzang also recorded that his group of travelers were assaulted by bandits on multiple occasions. The Silk Road also affected Tang dynasty art. Horses became a significant symbol of prosperity and power as well as an instrument of military and diplomatic policy. Horses were also revered as a relative of the dragon.  Guess a valid title for it!
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[A]: Tang dynasty


[Q]: Given the below context:  Keoghan is seeking advice from Jonathan and Simon Kennett about re-enacting Harry Watson's 1928 ride in the Tour de France on period bicycles. Jonathan Kennett's advice to Keoghan is:  I don't think that you know what you are letting yourself in for, and if you did, you wouldn't do it. Keoghan proceeds regardless and talks Ben Cornell into being his riding partner. They procure racing bikes from the era, and Keoghan researches the original route and drives it. The day after the 2013 Tour de France arrives in Paris, Keoghan and Cornell set off; not as planned early in the morning but late in the afternoon after Cornell's bike was temporarily lost by an airline. Sticking to the original schedule for every stage, day 1 finished in the middle of the night; one of many night time finishes. Keoghan and Cornell's experiences are interlaced with historic footage, showing the drama of the day. The 1928 race was designed to eliminate as many riders as possible, and of the 164 riders who started (other sources show slightly different numbers), only 41 finished the race. Historic footage is narrated in newsreader style by veteran New Zealand newsreader Hewitt Humphrey. French media coverage is conveyed, where the general expectation was for the Australasian team to be eliminated quickly, as they would not be able to keep up with the 10-person teams of European riders.  Guess a valid title for it!
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[A]: Le Ride


[Q]: Given the below context:  When socialite Army Air Force pilot Oliver Bradford is disfigured by war wounds, he hides from his family, including his mother, after his fiancée is too jarred by his disfigurement to accept it readily. He lives in bitter seclusion in the seaside New England cottage he had rented from its current owner, Mrs. Minnett, for his originally planned honeymoon, while blind concert pianist John Hillgrove who lives nearby befriends him gradually. Laura Pennington is a shy, homely maid who has hired on as the cottage's caretaker and befriends an initially reluctant Oliver after he admires her wood-carving talents. Oliver and Laura gradually fall in love and marry, but after Oliver and Laura fear their marriage is one of mutual pity, the couple discovers that their feelings for each other have mysteriously transformed them. He appears handsome to her and she seems beautiful to him. This "transformation" is perceived only by the two lovers (and the audience).  Laura believes that the cottage is "enchanted" because it was once rented to honeymoon couples, and in time the widowed Mrs. Minnett reveals the true story behind the cottage's enchantment legend.  Guess a valid title for it!
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[A]:
The Enchanted Cottage (1945 film)