gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jerry Fodor

Context: In his article "Propositional Attitudes" (1978), Fodor introduced the idea that mental states are relations between individuals and mental representations. Despite the changes in many of his positions over the years, the idea that intentional attitudes are relational has remained unchanged from its original formulation up to the present time.  In that article, he attempted to show how mental representations, specifically sentences in the language of thought, are necessary to explain this relational nature of mental states. Fodor considers two alternative hypotheses. The first completely denies the relational character of mental states and the second considers mental states as two-place relations. The latter position can be further subdivided into the Carnapian view that such relations are between individuals and sentences of natural languages and the Fregean view that they are between individuals and the propositions expressed by such sentences. Fodor's own position, instead, is that to properly account for the nature of intentional attitudes, it is necessary to employ a three-place relation between individuals, representations and propositional contents.  Considering mental states as three-place relations in this way, representative realism makes it possible to hold together all of the elements necessary to the solution of this problem. Further, mental representations are not only the objects of beliefs and desires, but are also the domain over which mental processes operate. They can be considered the ideal link between the syntactic notion of mental content and the computational notion of functional architecture. These notions are, according to Fodor, our best explanation of mental processes. CANNOTANSWER

Question: Is there anything else of interest I should know other than Fodor and the nature of mental states?
Answer: Fodor's own position, instead, is that to properly account for the nature of intentional attitudes, it is necessary to employ a three-place relation between individuals, representations and propositional contents.
Gennady Golovkin

Context: After ending his amateur career in 2005, Golovkin signed a professional deal with the Universum Box-Promotion (UBP) and made his professional debut in May 2006. By the end of 2008, Golovkin's record stood at 14-0 (11 KO) and while he had few wins over boxers regarded as legitimate contenders, he was regarded as one of the best prospects in the world. Golovkin was given 4 more relatively easy bouts in 2009. In 2010, Universum started to run into financial issues after having been dropped by German television channel ZDF. This caused a number of issues for Golovkin who was effectively unable to fight in Germany, and contract disputes between the two parties got complicated.  Golovkin terminated his contract with Universum in January 2010 and stated the following in an interview: "The reason for this decision is that I've always been placed behind Felix Sturm and Sebastian Zbik by Universum. Our demands to fight against Felix Sturm or Sebastian Zbik have been always rejected on absurd grounds. Universum had no real plan or concept for me, they did not even try to bring my career forward. They would rather try to prevent me from winning a title as long as Sturm and Zbik are champions. Further more, bouts against well-known and interesting opponents were held out in prospect, but nothing happened. This situation was not acceptable. It was time to move forward."  After cutting ties with Universum, the WBA issued an interim title fight between Golovkin, ranked #1 at the time, and Milton Nunez. Golovkin routed Nunez, defeating him in 58 seconds to become a world champion. Golovkin was promptly upgraded to WBA (Regular) champion. He tried to fight WBA (Super) champion Felix Sturm and Hassan N'Dam N'Jikam during this time, but was unable to get them in the ring. Oleg Hermann, Golovkin's manager, said "It is very hard to find a good opponent. Everybody knows that Felix Sturm is afraid of Gennady. Strictly speaking, Sturm should get out of boxing and become a marathon runner because he is running fast and long. He has an excellent chance to become a champion in athletics." CANNOTANSWER

Question: When did Gennady Golovkin's boxing career start?
Answer: After ending his amateur career in 2005, Golovkin signed a professional deal with the Universum Box-Promotion (UBP) and made his professional debut in May 2006.
Gennady Golovkin

Context: After ending his amateur career in 2005, Golovkin signed a professional deal with the Universum Box-Promotion (UBP) and made his professional debut in May 2006. By the end of 2008, Golovkin's record stood at 14-0 (11 KO) and while he had few wins over boxers regarded as legitimate contenders, he was regarded as one of the best prospects in the world. Golovkin was given 4 more relatively easy bouts in 2009. In 2010, Universum started to run into financial issues after having been dropped by German television channel ZDF. This caused a number of issues for Golovkin who was effectively unable to fight in Germany, and contract disputes between the two parties got complicated.  Golovkin terminated his contract with Universum in January 2010 and stated the following in an interview: "The reason for this decision is that I've always been placed behind Felix Sturm and Sebastian Zbik by Universum. Our demands to fight against Felix Sturm or Sebastian Zbik have been always rejected on absurd grounds. Universum had no real plan or concept for me, they did not even try to bring my career forward. They would rather try to prevent me from winning a title as long as Sturm and Zbik are champions. Further more, bouts against well-known and interesting opponents were held out in prospect, but nothing happened. This situation was not acceptable. It was time to move forward."  After cutting ties with Universum, the WBA issued an interim title fight between Golovkin, ranked #1 at the time, and Milton Nunez. Golovkin routed Nunez, defeating him in 58 seconds to become a world champion. Golovkin was promptly upgraded to WBA (Regular) champion. He tried to fight WBA (Super) champion Felix Sturm and Hassan N'Dam N'Jikam during this time, but was unable to get them in the ring. Oleg Hermann, Golovkin's manager, said "It is very hard to find a good opponent. Everybody knows that Felix Sturm is afraid of Gennady. Strictly speaking, Sturm should get out of boxing and become a marathon runner because he is running fast and long. He has an excellent chance to become a champion in athletics." CANNOTANSWER

Question: Are any of Gennady Golovkin's boxing opponents names mentioned?
Answer: Golovkin routed Nunez,
Gennady Golovkin

Context: After ending his amateur career in 2005, Golovkin signed a professional deal with the Universum Box-Promotion (UBP) and made his professional debut in May 2006. By the end of 2008, Golovkin's record stood at 14-0 (11 KO) and while he had few wins over boxers regarded as legitimate contenders, he was regarded as one of the best prospects in the world. Golovkin was given 4 more relatively easy bouts in 2009. In 2010, Universum started to run into financial issues after having been dropped by German television channel ZDF. This caused a number of issues for Golovkin who was effectively unable to fight in Germany, and contract disputes between the two parties got complicated.  Golovkin terminated his contract with Universum in January 2010 and stated the following in an interview: "The reason for this decision is that I've always been placed behind Felix Sturm and Sebastian Zbik by Universum. Our demands to fight against Felix Sturm or Sebastian Zbik have been always rejected on absurd grounds. Universum had no real plan or concept for me, they did not even try to bring my career forward. They would rather try to prevent me from winning a title as long as Sturm and Zbik are champions. Further more, bouts against well-known and interesting opponents were held out in prospect, but nothing happened. This situation was not acceptable. It was time to move forward."  After cutting ties with Universum, the WBA issued an interim title fight between Golovkin, ranked #1 at the time, and Milton Nunez. Golovkin routed Nunez, defeating him in 58 seconds to become a world champion. Golovkin was promptly upgraded to WBA (Regular) champion. He tried to fight WBA (Super) champion Felix Sturm and Hassan N'Dam N'Jikam during this time, but was unable to get them in the ring. Oleg Hermann, Golovkin's manager, said "It is very hard to find a good opponent. Everybody knows that Felix Sturm is afraid of Gennady. Strictly speaking, Sturm should get out of boxing and become a marathon runner because he is running fast and long. He has an excellent chance to become a champion in athletics." CANNOTANSWER

Question: Are there any other interesting aspects about this article, other than Gennady Golovkin's boxing career?
Answer: Golovkin was promptly upgraded to WBA (Regular) champion.
Gennady Golovkin

Context: After ending his amateur career in 2005, Golovkin signed a professional deal with the Universum Box-Promotion (UBP) and made his professional debut in May 2006. By the end of 2008, Golovkin's record stood at 14-0 (11 KO) and while he had few wins over boxers regarded as legitimate contenders, he was regarded as one of the best prospects in the world. Golovkin was given 4 more relatively easy bouts in 2009. In 2010, Universum started to run into financial issues after having been dropped by German television channel ZDF. This caused a number of issues for Golovkin who was effectively unable to fight in Germany, and contract disputes between the two parties got complicated.  Golovkin terminated his contract with Universum in January 2010 and stated the following in an interview: "The reason for this decision is that I've always been placed behind Felix Sturm and Sebastian Zbik by Universum. Our demands to fight against Felix Sturm or Sebastian Zbik have been always rejected on absurd grounds. Universum had no real plan or concept for me, they did not even try to bring my career forward. They would rather try to prevent me from winning a title as long as Sturm and Zbik are champions. Further more, bouts against well-known and interesting opponents were held out in prospect, but nothing happened. This situation was not acceptable. It was time to move forward."  After cutting ties with Universum, the WBA issued an interim title fight between Golovkin, ranked #1 at the time, and Milton Nunez. Golovkin routed Nunez, defeating him in 58 seconds to become a world champion. Golovkin was promptly upgraded to WBA (Regular) champion. He tried to fight WBA (Super) champion Felix Sturm and Hassan N'Dam N'Jikam during this time, but was unable to get them in the ring. Oleg Hermann, Golovkin's manager, said "It is very hard to find a good opponent. Everybody knows that Felix Sturm is afraid of Gennady. Strictly speaking, Sturm should get out of boxing and become a marathon runner because he is running fast and long. He has an excellent chance to become a champion in athletics." CANNOTANSWER

Question: Did Gennady Golovkin win any boxing metals/awards?
Answer: the WBA issued an interim title fight between Golovkin, ranked #1 at the time, and Milton Nunez. Golovkin routed
Gennady Golovkin

Context: After ending his amateur career in 2005, Golovkin signed a professional deal with the Universum Box-Promotion (UBP) and made his professional debut in May 2006. By the end of 2008, Golovkin's record stood at 14-0 (11 KO) and while he had few wins over boxers regarded as legitimate contenders, he was regarded as one of the best prospects in the world. Golovkin was given 4 more relatively easy bouts in 2009. In 2010, Universum started to run into financial issues after having been dropped by German television channel ZDF. This caused a number of issues for Golovkin who was effectively unable to fight in Germany, and contract disputes between the two parties got complicated.  Golovkin terminated his contract with Universum in January 2010 and stated the following in an interview: "The reason for this decision is that I've always been placed behind Felix Sturm and Sebastian Zbik by Universum. Our demands to fight against Felix Sturm or Sebastian Zbik have been always rejected on absurd grounds. Universum had no real plan or concept for me, they did not even try to bring my career forward. They would rather try to prevent me from winning a title as long as Sturm and Zbik are champions. Further more, bouts against well-known and interesting opponents were held out in prospect, but nothing happened. This situation was not acceptable. It was time to move forward."  After cutting ties with Universum, the WBA issued an interim title fight between Golovkin, ranked #1 at the time, and Milton Nunez. Golovkin routed Nunez, defeating him in 58 seconds to become a world champion. Golovkin was promptly upgraded to WBA (Regular) champion. He tried to fight WBA (Super) champion Felix Sturm and Hassan N'Dam N'Jikam during this time, but was unable to get them in the ring. Oleg Hermann, Golovkin's manager, said "It is very hard to find a good opponent. Everybody knows that Felix Sturm is afraid of Gennady. Strictly speaking, Sturm should get out of boxing and become a marathon runner because he is running fast and long. He has an excellent chance to become a champion in athletics." CANNOTANSWER

Question: Who was Gennady Golovkin's first boxing fight with?
Answer: Golovkin, ranked #1 at the time, and Milton Nunez.
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: who did the choreography in the musical Carousel?
Answer: CANNOTANSWER
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: what is the musical treatment in Carousel?
Answer: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: why was the score of Carousel cut?
Answer: that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording,
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: Other than the cuts to the score, what else is notable about the Carousel soundtack?
Answer: A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album.
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: which numbers were deleted for the 1956 film version of Carousel?
Answer: CANNOTANSWER
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: why were the deleted numbers from the 1956 Carousel film retained on the soundtrack?
Answer: The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film,
Carousel (musical)

Context: The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut--as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.  A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousel's songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle.  Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. CANNOTANSWER

Question: did the 2001 CD of the Carousel soundtrack sell well?
Answer: CANNOTANSWER
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: What were August Strindberg's politics believe?
Answer: politics is a conflict between the upper and lower classes.
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: What role did politics play in August Strindberg life?
Answer: Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884.
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: Did August Strindberg achieve his goal?
Answer: However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ...
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: Who was August Strindberg referring to when he said Half Apes?
Answer: women's
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: Besides being sympathetic to women of 19th-century Sweden, what else did August Strindberghe do in his political career?
Answer: Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: What books has August Strindberg written?
Answer: CANNOTANSWER
August Strindberg

Context: Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.  The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books.  In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle.  His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER

Question: Besides August´s passions and behaviours, what other information is there about August Strindberg´s literary exploits?
Answer: They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens.