In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Example Input: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. 
Question: What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?
Example Output: Igor Stravinsky.

Example Input: Passage: Altar 1 is found at the base of Stela 1. It is rectangular in shape with carved molding on its side.Altar 2 is of unknown provenance, having been moved to outside the administrator's house on the San Isidro Piedra Parada plantation. It is 1.59 metres (63 in) long, about 0.9 metres (35 in) wide and about 0.5 metres (20 in) high. It represents an animal variously identified as a toad and a jaguar. The body of the animal was sculptured to form a hollow 85 centimetres (33 in) across and 26 centimetres (10 in) deep. The sculpture was broken into three pieces.Altar 3 is a roughly worked flat, circular altar about 1 metre (39 in) across and 0.3 metres (12 in) high. It was probably associated originally with a stela but its original location is unknown, it was moved near to the manager's house on the San Isidro Piedra Parada plantation.Altar 5 is a damaged plain circular altar associated with Stela 2.Altar 7 is near the southern edge of the plaza on Terrace 3, where it is one of five monuments in a line running east-west.Altar 8 is a plain monument associated with Stela 5, positioned on the west side of Structure 12.Altar 9 is a low four-legged throne placed in front of Structure 11.Altar 10 was associated with Stela 13 and was found on top of the large offering of ceramics associated with that stela and the royal tomb in Structure 7A. The monument was originally a throne with cylindrical supports that was reused as an altar in the Classic period.Altar 12 is carved in the early Maya style and archaeologists consider it to be an especially early example dating to the first part of the Late Preclassic. Because of the carvings on the upper face of the altar, it is supposed that the monument was originally erected as a vertical stela in the Late Preclassic, and was reused as a horizontal altar in the Classic. At this time 16 hieroglyphs were carved around the outer rim of the altar. The carving on the upper face of the altar represents a standing human figure portrayed in profile, facing left. The figure is flanked by two vertical series of four glyphs. A smaller profile figure is depicted facing the first figure, separated from it by one of the series of glyphs. The central figure is depicted standing upon a horizontal band representing the earth, the band is flanked by two earth monsters. Above the figure is a celestial band with part of the head of a sacred bird visible in the centre. The 16 glyphs on the rim of the monument are formed by anthropomorphic figures mixed with other elements. 
Question: What is carved on the outer rim of Altar 12 and are formed by anthropomorphic figures mixed with other elements?
Example Output: 16 hieroglyphs.

Example Input: Passage: The MAUD Committee reports urged the co-operation with the United States should be continued in the research of nuclear fission. Charles C. Lauritsen, a Caltech physicist working at the National Defense Research Committee (NDRC), was in London during this time and was invited to sit in on a MAUD meeting. The committee pushed for rapid development of nuclear weapons using gaseous-diffusion as their isotope separation device. Once he returned to the United States, he was able to brief Vannevar Bush, the director of the Office of Scientific Research and Development (OSRD), concerning the details discussed during the meeting.In August 1941, Mark Oliphant, the director of the physics department at the University of Birmingham and an original member of the MAUD Committee, was sent to the US to assist the NDRC on radar. During his visit he met with William D. Coolidge. Coolidge was shocked when Oliphant informed him that the British had predicted that only ten kilograms of uranium-235 would be sufficient to supply a chain reaction effected by fast moving neutrons. While in America, Oliphant discovered that the chairman of the OSRD S-1 Section, Lyman Briggs, had locked away the MAUD reports transferred from Britain entailing the initial discoveries and had not informed the S-1 Committee members of all its findings.Oliphant took the initiative himself to enlighten the scientific community in the U.S. of the recent ground breaking discoveries the MAUD Committee had just exposed. Oliphant also travelled to Berkley to meet with Ernest Lawrence, inventor of the cyclotron. After Oliphant informed Lawrence of his report on uranium, Lawrence met with NDRC chairman James Bryant Conant, George B. Pegram, and Arthur Compton to relay the details which Oliphant had directed to Lawrence. Oliphant was not only able to get in touch with Lawrence, but he met with Conant and Bush to inform them of the significant data the MAUD had discovered. Oliphant’s ability to inform the Americans led to Oliphant convincing Lawrence, Lawrence convincing Compton, and then Kistiakowsky convincing Conant to move forward with nuclear weapons. These actions from Oliphant resulted in Bush taking this report directly to the president. 
Question: What is the first name of the person who convinced Lawrence to move forward with nuclear weapons?
Example Output:
Mark.