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.

Q: Passage: Much of the court martial testimony was critical of Bligh's conduct—by the time of his return to England in August 1793, following his successful conveyance of breadfruit to the West Indies aboard Providence, professional and public opinion had turned against him. He was snubbed at the Admiralty when he went to present his report, and was left on half pay for 19 months before receiving his next appointment. In late 1794 the jurist Edward Christian, brother of Fletcher, published his Appendix to the court martial proceedings, which was said by the press to "palliate the behaviour of Christian and the Mutineers, and to criminate Captain Bligh". Bligh's position was further undermined when the loyalist gunner Peckover confirmed that much of what was alleged in the Appendix was true.Bligh commanded HMS Director at the Battle of Camperdown in October 1797 and HMS Glatton in the Battle of Copenhagen in April 1801. In 1805 while commanding HMS Warrior, he was court-martialled for using bad language to his officers, and reprimanded. In 1806, he was appointed Governor of New South Wales in Australia; after two years a group of army officers arrested and deposed him in the Rum Rebellion. After his return to England, Bligh was promoted to rear-admiral in 1811 and vice-admiral in 1814, but was not offered further naval appointments. He died, aged 63, in December 1817.Of the pardoned mutineers, Heywood and Morrison returned to naval duty. Heywood acquired the patronage of Hood and, by 1803 at the age of 31, had achieved the rank of captain. After a distinguished career, he died in 1831. Morrison became a master gunner, and was eventually lost in 1807 when HMS Blenheim foundered in the Indian Ocean. Muspratt is believed to have worked as a naval steward before his death, in or before 1798. The other principal participants in the court martial—Fryer, Peckover, Coleman, McIntosh and others—generally vanished from the public eye after the closing of the procedures. 
Question: What is the last name of the person who died at 63?

A: Bligh.
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Q: Passage: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows – "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy – but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism and the deliberateness of classicism", and her "romantically classical" approach. Despite the generally positive views, there were some reservations, particularly that the artist might be at risk of settling upon, and then repeating, a formula in her work. Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends", and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not. 
Question: Whose "vigorous imaginativeness" was commented upon?

A: Bellette.
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Q: Passage: Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945.
Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh.
After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since then, several short manuscript sketches have been tentatively identified with the Eighth, three of which (comprising less than three minutes of music) were recorded by the Helsinki Philharmonic Orchestra in 2011. While a few musicologists have speculated that, if further fragments can be identified, it may be possible to reconstruct the entire work, others have suggested that this is unlikely given the ambiguity of the extant material. The propriety of publicly performing music that Sibelius himself had rejected has also been questioned. 
Question: What is the last name of the person who was occupied intermittently from the mid 1920s until around 1938?

A:
Sibelius.
****