gaussalgo/Canard_Wiki-augmented huggingface dataset:
Atsuko Maeda

Context: On April 23, 2011, Maeda announced that she would make her solo debut with her debut single "Flower", released on June 22. It was met with commercial success in Japan, debuting at number 1 on the Oricon Charts with first week sales of 176,967 copies.  The follow-up single "Kimi wa Boku Da", released in June 2012, was Maeda's last solo single while still a member of AKB48. It debuted at number two on the Oricon charts and reached number one on the Billboard Japan Hot 100.  On June 15, 2013, at AKB48's handshake event held at Makuhari Messe, AKB48 announced that Maeda would appear as a special guest at the group's summer concert series at the Sapporo Dome on July 31. There], she performed her third single, "Time Machine Nante Iranai" (taimumashinnanteiranai, I don't need a time machine), which was later released on September 18. It was selected to be the theme song for the live-action adaptation of Yamada-kun to 7-nin no Majo (Yamada and the Seven Witches). Maeda described the song as "cheerful and fun" and hoped it would liven up the show. "Time Machine Nante Iranai" eventually peaked at number one on the Oricon Daily charts, and number two on the Oricon Weekly chart. On Billboard's Japan Hot 100, it debuted at number one and stayed there for just the week of September 30.  Maeda's 4th single "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in. It debuted at number 4 on the Oricon charts and reached number three on the Billboard Japan Hot 100.  On December 12, 2015, it was announced that Maeda's first album will be released later the next year. Eventually, the album is set to be released on June 22, 2016. CANNOTANSWER

Question: When did Maeda gets big break?
Answer: On April 23, 2011, Maeda announced that she would make her solo debut
Atsuko Maeda

Context: On April 23, 2011, Maeda announced that she would make her solo debut with her debut single "Flower", released on June 22. It was met with commercial success in Japan, debuting at number 1 on the Oricon Charts with first week sales of 176,967 copies.  The follow-up single "Kimi wa Boku Da", released in June 2012, was Maeda's last solo single while still a member of AKB48. It debuted at number two on the Oricon charts and reached number one on the Billboard Japan Hot 100.  On June 15, 2013, at AKB48's handshake event held at Makuhari Messe, AKB48 announced that Maeda would appear as a special guest at the group's summer concert series at the Sapporo Dome on July 31. There], she performed her third single, "Time Machine Nante Iranai" (taimumashinnanteiranai, I don't need a time machine), which was later released on September 18. It was selected to be the theme song for the live-action adaptation of Yamada-kun to 7-nin no Majo (Yamada and the Seven Witches). Maeda described the song as "cheerful and fun" and hoped it would liven up the show. "Time Machine Nante Iranai" eventually peaked at number one on the Oricon Daily charts, and number two on the Oricon Weekly chart. On Billboard's Japan Hot 100, it debuted at number one and stayed there for just the week of September 30.  Maeda's 4th single "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in. It debuted at number 4 on the Oricon charts and reached number three on the Billboard Japan Hot 100.  On December 12, 2015, it was announced that Maeda's first album will be released later the next year. Eventually, the album is set to be released on June 22, 2016. CANNOTANSWER

Question: How did fans react on hearing Maeda announcement about her Solo debut?
Answer: number 1 on the Oricon Charts with first week sales of 176,967 copies.
Atsuko Maeda

Context: On April 23, 2011, Maeda announced that she would make her solo debut with her debut single "Flower", released on June 22. It was met with commercial success in Japan, debuting at number 1 on the Oricon Charts with first week sales of 176,967 copies.  The follow-up single "Kimi wa Boku Da", released in June 2012, was Maeda's last solo single while still a member of AKB48. It debuted at number two on the Oricon charts and reached number one on the Billboard Japan Hot 100.  On June 15, 2013, at AKB48's handshake event held at Makuhari Messe, AKB48 announced that Maeda would appear as a special guest at the group's summer concert series at the Sapporo Dome on July 31. There], she performed her third single, "Time Machine Nante Iranai" (taimumashinnanteiranai, I don't need a time machine), which was later released on September 18. It was selected to be the theme song for the live-action adaptation of Yamada-kun to 7-nin no Majo (Yamada and the Seven Witches). Maeda described the song as "cheerful and fun" and hoped it would liven up the show. "Time Machine Nante Iranai" eventually peaked at number one on the Oricon Daily charts, and number two on the Oricon Weekly chart. On Billboard's Japan Hot 100, it debuted at number one and stayed there for just the week of September 30.  Maeda's 4th single "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in. It debuted at number 4 on the Oricon charts and reached number three on the Billboard Japan Hot 100.  On December 12, 2015, it was announced that Maeda's first album will be released later the next year. Eventually, the album is set to be released on June 22, 2016. CANNOTANSWER

Question: Did Maeda  do any live performances?
Answer: AKB48 announced that Maeda would appear as a special guest at the group's summer concert series
Atsuko Maeda

Context: On April 23, 2011, Maeda announced that she would make her solo debut with her debut single "Flower", released on June 22. It was met with commercial success in Japan, debuting at number 1 on the Oricon Charts with first week sales of 176,967 copies.  The follow-up single "Kimi wa Boku Da", released in June 2012, was Maeda's last solo single while still a member of AKB48. It debuted at number two on the Oricon charts and reached number one on the Billboard Japan Hot 100.  On June 15, 2013, at AKB48's handshake event held at Makuhari Messe, AKB48 announced that Maeda would appear as a special guest at the group's summer concert series at the Sapporo Dome on July 31. There], she performed her third single, "Time Machine Nante Iranai" (taimumashinnanteiranai, I don't need a time machine), which was later released on September 18. It was selected to be the theme song for the live-action adaptation of Yamada-kun to 7-nin no Majo (Yamada and the Seven Witches). Maeda described the song as "cheerful and fun" and hoped it would liven up the show. "Time Machine Nante Iranai" eventually peaked at number one on the Oricon Daily charts, and number two on the Oricon Weekly chart. On Billboard's Japan Hot 100, it debuted at number one and stayed there for just the week of September 30.  Maeda's 4th single "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in. It debuted at number 4 on the Oricon charts and reached number three on the Billboard Japan Hot 100.  On December 12, 2015, it was announced that Maeda's first album will be released later the next year. Eventually, the album is set to be released on June 22, 2016. CANNOTANSWER

Question: What other appearances did Maeda make aside from her special guest apperance in summer concert series?
Answer: the live-action adaptation of Yamada-kun to 7-nin no Majo
Atsuko Maeda

Context: On April 23, 2011, Maeda announced that she would make her solo debut with her debut single "Flower", released on June 22. It was met with commercial success in Japan, debuting at number 1 on the Oricon Charts with first week sales of 176,967 copies.  The follow-up single "Kimi wa Boku Da", released in June 2012, was Maeda's last solo single while still a member of AKB48. It debuted at number two on the Oricon charts and reached number one on the Billboard Japan Hot 100.  On June 15, 2013, at AKB48's handshake event held at Makuhari Messe, AKB48 announced that Maeda would appear as a special guest at the group's summer concert series at the Sapporo Dome on July 31. There], she performed her third single, "Time Machine Nante Iranai" (taimumashinnanteiranai, I don't need a time machine), which was later released on September 18. It was selected to be the theme song for the live-action adaptation of Yamada-kun to 7-nin no Majo (Yamada and the Seven Witches). Maeda described the song as "cheerful and fun" and hoped it would liven up the show. "Time Machine Nante Iranai" eventually peaked at number one on the Oricon Daily charts, and number two on the Oricon Weekly chart. On Billboard's Japan Hot 100, it debuted at number one and stayed there for just the week of September 30.  Maeda's 4th single "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in. It debuted at number 4 on the Oricon charts and reached number three on the Billboard Japan Hot 100.  On December 12, 2015, it was announced that Maeda's first album will be released later the next year. Eventually, the album is set to be released on June 22, 2016. CANNOTANSWER

Question: What are some other interesting aspects of this article inadditional to Maeda's Solo debut and Special Guest appearances?
Answer: "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in.
David Rockefeller

Context: Rockefeller traveled widely and met with both foreign rulers and U.S. presidents, beginning with Dwight D. Eisenhower. At times he served as an unofficial emissary on high-level business. Among the foreign leaders he met were Saddam Hussein, Fidel Castro, Nikita Khrushchev, and Mikhail Gorbachev.  In 1968, he declined an offer from his brother Nelson Rockefeller, then governor of New York, to appoint him to Robert F. Kennedy's Senate seat after Kennedy was assassinated in June 1968, a post Nelson also offered to their nephew John Davison "Jay" Rockefeller IV. President Jimmy Carter offered him the position of United States Secretary of the Treasury but he declined.  Rockefeller was criticized for befriending foreign autocrats in order to expand Chase interests in their countries. The New York Times columnist David Brooks wrote in 2002 that Rockefeller "spent his life in the club of the ruling class and was loyal to members of the club, no matter what they did." He noted that Rockefeller had cut profitable deals with "oil-rich dictators", "Soviet party bosses" and "Chinese perpetrators of the Cultural Revolution".  Rockefeller met Henry Kissinger in 1954, when Kissinger was appointed a director of a seminal Council on Foreign Relations study group on nuclear weapons, of which David Rockefeller was a member. He named Kissinger to the board of trustees of the Rockefeller Brothers Fund, and consulted with him frequently, with the subjects including the Chase Bank's interests in Chile and the possibility of the election of Salvador Allende in 1970. Rockefeller supported his "opening of China" initiative in 1971 as it afforded banking opportunities for the Chase Bank.  Though a lifelong Republican and party contributor, he was a member of the moderate "Rockefeller Republicans" that arose out of the political ambitions and public policy stance of his brother Nelson. In 2006 he teamed up with former Goldman Sachs executives and others to form a fund-raising group based in Washington, Republicans Who Care, that supported moderate Republican candidates over more ideological contenders. CANNOTANSWER

Question: What is the CFR in relation to David Rockefeller?
Answer: Council on Foreign Relations study group on nuclear weapons,
David Rockefeller

Context: Rockefeller traveled widely and met with both foreign rulers and U.S. presidents, beginning with Dwight D. Eisenhower. At times he served as an unofficial emissary on high-level business. Among the foreign leaders he met were Saddam Hussein, Fidel Castro, Nikita Khrushchev, and Mikhail Gorbachev.  In 1968, he declined an offer from his brother Nelson Rockefeller, then governor of New York, to appoint him to Robert F. Kennedy's Senate seat after Kennedy was assassinated in June 1968, a post Nelson also offered to their nephew John Davison "Jay" Rockefeller IV. President Jimmy Carter offered him the position of United States Secretary of the Treasury but he declined.  Rockefeller was criticized for befriending foreign autocrats in order to expand Chase interests in their countries. The New York Times columnist David Brooks wrote in 2002 that Rockefeller "spent his life in the club of the ruling class and was loyal to members of the club, no matter what they did." He noted that Rockefeller had cut profitable deals with "oil-rich dictators", "Soviet party bosses" and "Chinese perpetrators of the Cultural Revolution".  Rockefeller met Henry Kissinger in 1954, when Kissinger was appointed a director of a seminal Council on Foreign Relations study group on nuclear weapons, of which David Rockefeller was a member. He named Kissinger to the board of trustees of the Rockefeller Brothers Fund, and consulted with him frequently, with the subjects including the Chase Bank's interests in Chile and the possibility of the election of Salvador Allende in 1970. Rockefeller supported his "opening of China" initiative in 1971 as it afforded banking opportunities for the Chase Bank.  Though a lifelong Republican and party contributor, he was a member of the moderate "Rockefeller Republicans" that arose out of the political ambitions and public policy stance of his brother Nelson. In 2006 he teamed up with former Goldman Sachs executives and others to form a fund-raising group based in Washington, Republicans Who Care, that supported moderate Republican candidates over more ideological contenders. CANNOTANSWER

Question: Did David Rockefeller found more than one non-profit?
Answer: CANNOTANSWER
David Rockefeller

Context: Rockefeller traveled widely and met with both foreign rulers and U.S. presidents, beginning with Dwight D. Eisenhower. At times he served as an unofficial emissary on high-level business. Among the foreign leaders he met were Saddam Hussein, Fidel Castro, Nikita Khrushchev, and Mikhail Gorbachev.  In 1968, he declined an offer from his brother Nelson Rockefeller, then governor of New York, to appoint him to Robert F. Kennedy's Senate seat after Kennedy was assassinated in June 1968, a post Nelson also offered to their nephew John Davison "Jay" Rockefeller IV. President Jimmy Carter offered him the position of United States Secretary of the Treasury but he declined.  Rockefeller was criticized for befriending foreign autocrats in order to expand Chase interests in their countries. The New York Times columnist David Brooks wrote in 2002 that Rockefeller "spent his life in the club of the ruling class and was loyal to members of the club, no matter what they did." He noted that Rockefeller had cut profitable deals with "oil-rich dictators", "Soviet party bosses" and "Chinese perpetrators of the Cultural Revolution".  Rockefeller met Henry Kissinger in 1954, when Kissinger was appointed a director of a seminal Council on Foreign Relations study group on nuclear weapons, of which David Rockefeller was a member. He named Kissinger to the board of trustees of the Rockefeller Brothers Fund, and consulted with him frequently, with the subjects including the Chase Bank's interests in Chile and the possibility of the election of Salvador Allende in 1970. Rockefeller supported his "opening of China" initiative in 1971 as it afforded banking opportunities for the Chase Bank.  Though a lifelong Republican and party contributor, he was a member of the moderate "Rockefeller Republicans" that arose out of the political ambitions and public policy stance of his brother Nelson. In 2006 he teamed up with former Goldman Sachs executives and others to form a fund-raising group based in Washington, Republicans Who Care, that supported moderate Republican candidates over more ideological contenders. CANNOTANSWER

Question: When did David Rockefeller become the director of CFR?
Answer: CANNOTANSWER
David Rockefeller

Context: Rockefeller traveled widely and met with both foreign rulers and U.S. presidents, beginning with Dwight D. Eisenhower. At times he served as an unofficial emissary on high-level business. Among the foreign leaders he met were Saddam Hussein, Fidel Castro, Nikita Khrushchev, and Mikhail Gorbachev.  In 1968, he declined an offer from his brother Nelson Rockefeller, then governor of New York, to appoint him to Robert F. Kennedy's Senate seat after Kennedy was assassinated in June 1968, a post Nelson also offered to their nephew John Davison "Jay" Rockefeller IV. President Jimmy Carter offered him the position of United States Secretary of the Treasury but he declined.  Rockefeller was criticized for befriending foreign autocrats in order to expand Chase interests in their countries. The New York Times columnist David Brooks wrote in 2002 that Rockefeller "spent his life in the club of the ruling class and was loyal to members of the club, no matter what they did." He noted that Rockefeller had cut profitable deals with "oil-rich dictators", "Soviet party bosses" and "Chinese perpetrators of the Cultural Revolution".  Rockefeller met Henry Kissinger in 1954, when Kissinger was appointed a director of a seminal Council on Foreign Relations study group on nuclear weapons, of which David Rockefeller was a member. He named Kissinger to the board of trustees of the Rockefeller Brothers Fund, and consulted with him frequently, with the subjects including the Chase Bank's interests in Chile and the possibility of the election of Salvador Allende in 1970. Rockefeller supported his "opening of China" initiative in 1971 as it afforded banking opportunities for the Chase Bank.  Though a lifelong Republican and party contributor, he was a member of the moderate "Rockefeller Republicans" that arose out of the political ambitions and public policy stance of his brother Nelson. In 2006 he teamed up with former Goldman Sachs executives and others to form a fund-raising group based in Washington, Republicans Who Care, that supported moderate Republican candidates over more ideological contenders. CANNOTANSWER

Question: What was David Rockefeller's relationship to Sol?
Answer: CANNOTANSWER
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: What are some of Dürer's masterworks?
Answer: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: Does Dürer have more works of art in addition to Adam and Eve, The Martyrdom of the Ten Thousand, Virgin with the Iris, and the altarpiece Assumption of the Virgin?
Answer: Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin,
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: Are Dürer's woodcut series well known?
Answer: Between 1507 and 1511 Durer worked on some of his most celebrated paintings:
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: What is significant about Nuremberg in regard to Dürer?
Answer: Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520.
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: Why did Dürer return to Nuremberg?
Answer: His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: Are there any other interesting aspects about this article aside from Dürer's artwork and return to Nuremberg?
Answer: he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself.
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: Did Dürer receive any special tributes or recognition?
Answer: CANNOTANSWER
Albrecht Dürer

Context: Despite the regard in which he was held by the Venetians, Durer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and--mainly through Lorenzo di Credi--Leonardo da Vinci.  Between 1507 and 1511 Durer worked on some of his most celebrated paintings: Adam and Eve (1507), The Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Durer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.  Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Durer created his three most famous engravings: Knight, Death, and the Devil (1513, probably based on Erasmus's treatise Enchiridion militis Christiani), St. Jerome in his Study, and the much-debated Melencolia I (both 1514). Further outstanding pen and ink drawings of Durer's period of art work of 1513 were drafts for his friend Willibald Prickheimer. These drafts were later used to design the famous chandeliers lusterweibchen.  In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. CANNOTANSWER

Question: Who were Dürer's influences in his art?
Answer: CANNOTANSWER
Emiliano Zapata

Context: Meanwhile, the disintegration of the revolution outside of Morelos put pressure on the Zapatistas. As General Arenas had turned over to the constitutionalists, he had secured peace for his region and he remained in control there. This suggested to many revolutionaries that perhaps the time had come to seek a peaceful conclusion to the struggle. A movement within the Zapatista ranks led by former General Vazquez and Zapata's erstwhile adviser and inspiration Otilio Montano moved against the Tlaltizapan headquarters demanding surrender to the Carrancistas. Reluctantly, Zapata had Montano tried for treason and executed (Womack 1983-86).  Zapata began looking for allies among the northern revolutionaries and the southern Felicistas, followers of the Liberalist Felix Diaz. He sent Gildardo Magana as an envoy to communicate with the Americans and other possible sources of support. In the fall of 1917 a force led by Gonzalez and the ex-Zapatista Sidronio Camacho, who had killed Zapata's brother Eufemio, moved into the eastern part of Morelos taking Cuautla, Zacualpan and Jonacatepec.  Zapata continued his work to try to unite with the national anti-Carrancista movement through the next year, and the constitutionalists did not make further advances. In the winter of 1918 a harsh cold and the onset of the Spanish flu decimated the population of Morelos, causing the loss of a quarter of the total population of the state, almost as many as had been lost to Huerta in 1914. (Womack 311). Furthermore, Zapata began to worry that by the end of the World War, the US would turn its attention to Mexico forcing the Zapatistas to either join the Carrancistas in a national defense or to acquiesce to foreign domination of Mexico. In December 1918 Carrancistas under Gonzalez undertook an offensive campaign taking most of the state of Morelos, and pushing Zapata to retreat. The main Zapatista headquarters were moved to Tochimilco, Puebla, although Tlaltizapan also continued to be under Zapatista control. Through Castro, Carranza issued offers to the main Zapatista generals to join the nationalist cause, with pardon. But apart from Manuel Palafox, who having fallen in disgrace among the Zapatistas had joined the Arenistas, none of the major generals did (Womack 313-14). Zapata emitted statements accusing Carranza of being secretly sympathetic to the Germans (Womack 315). In March Zapata finally emitted an open letter to Carranza urging him for the good of the fatherland to resign his leadership to Vazquez Gomez, by now the rallying point of the anti-constitutionalist movement (Womack 319-20). Having posed this formidable moral challenge to Carranza prior to the upcoming 1920 presidential elections, the Zapatista generals at Tochimilco, Magana and Ayaquica, urged Zapata not to take any risks and to lay low. But Zapata declined, considering that the respect of his troops depended on his active presence at the front (Womack 320-22). CANNOTANSWER

Question: When did Emiliano Zapata first begin to feel pressure?
Answer: the disintegration of the revolution outside of Morelos put pressure on the Zapatistas.
Emiliano Zapata

Context: Meanwhile, the disintegration of the revolution outside of Morelos put pressure on the Zapatistas. As General Arenas had turned over to the constitutionalists, he had secured peace for his region and he remained in control there. This suggested to many revolutionaries that perhaps the time had come to seek a peaceful conclusion to the struggle. A movement within the Zapatista ranks led by former General Vazquez and Zapata's erstwhile adviser and inspiration Otilio Montano moved against the Tlaltizapan headquarters demanding surrender to the Carrancistas. Reluctantly, Zapata had Montano tried for treason and executed (Womack 1983-86).  Zapata began looking for allies among the northern revolutionaries and the southern Felicistas, followers of the Liberalist Felix Diaz. He sent Gildardo Magana as an envoy to communicate with the Americans and other possible sources of support. In the fall of 1917 a force led by Gonzalez and the ex-Zapatista Sidronio Camacho, who had killed Zapata's brother Eufemio, moved into the eastern part of Morelos taking Cuautla, Zacualpan and Jonacatepec.  Zapata continued his work to try to unite with the national anti-Carrancista movement through the next year, and the constitutionalists did not make further advances. In the winter of 1918 a harsh cold and the onset of the Spanish flu decimated the population of Morelos, causing the loss of a quarter of the total population of the state, almost as many as had been lost to Huerta in 1914. (Womack 311). Furthermore, Zapata began to worry that by the end of the World War, the US would turn its attention to Mexico forcing the Zapatistas to either join the Carrancistas in a national defense or to acquiesce to foreign domination of Mexico. In December 1918 Carrancistas under Gonzalez undertook an offensive campaign taking most of the state of Morelos, and pushing Zapata to retreat. The main Zapatista headquarters were moved to Tochimilco, Puebla, although Tlaltizapan also continued to be under Zapatista control. Through Castro, Carranza issued offers to the main Zapatista generals to join the nationalist cause, with pardon. But apart from Manuel Palafox, who having fallen in disgrace among the Zapatistas had joined the Arenistas, none of the major generals did (Womack 313-14). Zapata emitted statements accusing Carranza of being secretly sympathetic to the Germans (Womack 315). In March Zapata finally emitted an open letter to Carranza urging him for the good of the fatherland to resign his leadership to Vazquez Gomez, by now the rallying point of the anti-constitutionalist movement (Womack 319-20). Having posed this formidable moral challenge to Carranza prior to the upcoming 1920 presidential elections, the Zapatista generals at Tochimilco, Magana and Ayaquica, urged Zapata not to take any risks and to lay low. But Zapata declined, considering that the respect of his troops depended on his active presence at the front (Womack 320-22). CANNOTANSWER

Question: Was Emiliano Zapata the leader of the Zapatistas?
Answer: As General Arenas had turned over to the constitutionalists, he had secured peace for his region and he remained in control there.
George Steiner

Context: In 1956 Steiner returned to the United States, where for two years he was a scholar at the Institute for Advanced Study in Princeton, New Jersey. He also held a Fulbright professorship in Innsbruck, Austria from 1958 to 1959. In 1959, he was appointed Gauss Lecturer at Princeton, where he lectured for another two years. He then became a founding fellow of Churchill College at the University of Cambridge in 1961. Steiner was initially not well received at Cambridge by the English faculty. Many disapproved of this charismatic "firebrand with a foreign accent" and questioned the relevance of the Holocaust he constantly referred to in his lectures. Bryan Cheyette, professor of 20th-century literature at the University of Southampton said that at the time, "Britain [...] didn't think it had a relationship to the Holocaust; its mythology of the war was rooted in the Blitz, Dunkirk, the Battle of Britain." While Steiner received a professorial salary, he was never made a full professor at Cambridge with the right to examine. He had the option of leaving for professorships in the United States, but Steiner's father objected, saying that Hitler, who said no one bearing their name would be left in Europe, would then have won. Steiner remained in England because "I'd do anything rather than face such contempt from my father." He was elected an Extraordinary Fellow at Cambridge in 1969.  After several years as a freelance writer and occasional lecturer, Steiner accepted the post of Professor of English and Comparative Literature at the University of Geneva in 1974; he held this post for 20 years, teaching in four languages. He lived by Goethe's maxim that "no monoglot truly knows his own language." He became Professor Emeritus at Geneva University on his retirement in 1994, and an Honorary Fellow at Balliol College at Oxford University in 1995. He has since held the positions of the first Lord Weidenfeld Professor of Comparative European Literature and Fellow of St Anne's College at Oxford University from 1994 to 1995, and Norton Professor of Poetry at Harvard University from 2001 to 2002.  Steiner has been called "an intelligent and intellectual critic and essayist." He was active on undergraduate publications while at the University of Chicago and later become a regular contributor of reviews and articles to many journals and newspapers including the Times Literary Supplement and The Guardian. He has written for The New Yorker for over thirty years, contributing over two hundred reviews.  While Steiner generally takes things very seriously, he also reveals an unexpected deadpan humor: when he was once asked if he had ever read anything trivial as a child, he replied, Moby-Dick. CANNOTANSWER

Question: what was George Steiner's career?
Answer: for two years he was a scholar at the Institute for Advanced Study in Princeton, New Jersey.