TASK DEFINITION: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
PROBLEM: Passage: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers he is unlikely to have written something original.

SOLUTION: What were the name of the two movements discovered by Spencer and Tillett?

PROBLEM: Passage: Mauna Kea is one of five volcanoes  that form the island of Hawaii, the largest and youngest island of the Hawaiian–Emperor seamount chain. Of these five hotspot volcanoes, Mauna Kea is the fourth oldest and fourth most active. It began as a preshield volcano driven by the Hawaii hotspot around one million years ago, and became exceptionally active during its shield stage until 500,000 years ago. Mauna Kea entered its quieter post-shield stage 250,000 to 200,000 years ago, and is currently dormant. Mauna Kea does not have a visible summit caldera, but contains a number of small cinder and pumice cones near its summit. A former summit caldera may have been filled and buried by later summit eruption deposits.
Mauna Kea is over 32,000 km3 (7,680 cu mi) in volume, so massive that it and its neighbor, Mauna Loa, depress the ocean crust beneath it by 6 km (4 mi).
Mauna Kea is the only Hawaiian volcano with distinct evidence of glaciation. Similar deposits probably existed on Mauna Loa, but have been covered by later lava flows. Despite Hawaii's tropical location, during several past ice ages a drop of a degree in temperature allowed snow to remain at the volcano's summit through summer, triggering the formation of an ice cap. There are three episodes of glaciation that have been recorded from the last 180,000 years: the Pōhakuloa (180–130 ka), Wāihu (80–60 ka) and Mākanaka (40–13 ka) series. These have extensively sculpted the summit, depositing moraines and a circular ring of till and gravel along the volcano's upper flanks. Subglacial eruptions built cinder cones during the Mākanaka glaciation, most of which were heavily gouged by glacial action. The most recent cones were built between 9000 and 4500 years ago, atop the glacial deposits, although one study indicates that the last eruption may have been around 3600 years ago.At their maximum extent, the glaciers extended from the summit down to between 3,200 and 3,800 m (10,500 and 12,500 ft) of elevation. A small body of permafrost, less than 25 m (80 ft) across, was found at the summit of Mauna Kea before 1974, and may still be present. Small gullies etch the summit, formed by rain- and snow-fed streams that flow only during winter melt and rain showers.

SOLUTION: What was likely covered by later lava flows on Mauna Loa?

PROBLEM: Passage: Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryō "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijō-dōri, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title.
During the era of the collodion process, before the arrival of less demanding photographic technology (the gelatin silver process, photographic film, and smaller cameras) and the consequent rise of amateur photography, commercial photographers like Farsari had a particular importance for recording events and views. In Japan before 1899 such photographers were even more significant because the government required foreigners to obtain passes to journey to the interior, and commercial photographers based in Japan could more easily gain access and provide rare images of restricted areas. By 1889, however, Farsari estimated that about half of all visitors to Yokohama were amateur photographers; even if this was an exaggeration, the presence of increasing numbers of amateur photographers was obviously affecting the commercial photography business. To encourage amateur photographers to visit his studio and possibly buy his merchandise, Farsari provided free use of a darkroom.

SOLUTION:
What is the full name of the artist whose 1888 oil painting drew heavily from a photograph by an artist who offered amateur photographers his darkroom?