In this task, you're given a question, a context passage, and four options which are terms from the passage. After reading a passage, you will get a brief understanding of the terms. Your job is to determine by searching and reading further information of which term you can answer the question. Indicate your choice as 'a', 'b', 'c', or 'd'. If you think more than one option is plausible, choose the more probable option to help you answer the question.

Ex Input:
Question: Were the two anarchists that Oerter met in New York born outside of United States? Passage:By the early 1890s he had moved away from Bavaria and, with his brother, was working in Duisburg. Together the brothers smuggled subversive anarchist literature into Germany from the Netherlands. Coming under increasing police pressure, and taking his queue from a number of other anarchist comrades in a similar predicament, early in 1892 he fled to the United States of America. On his arrival at New York he met up with the circle around Emma Goldman, Alexander Berkman, and politically like-minded comrades from Germany. Sepp Orter discovered in himself a talent for activism, turning out to have a flair for public speaking. During 1892 he was also the editor of the New York version of , published by the "Radical Workers' Association" ("Radikaler Arbeiter Bund") and the "Autonomy" group which also numbered among its members Josef Peukert. The stay in America was cut short, however. The authorities suspected that Oerter had somehow been involved in Alexander Berkman's attempt to assassinate a wealthy businessman called Henry Clay Frick. Those suspicions appear not to have been entirely unfounded. With financial assistance from Emma Goldman, Sepp Oerter returned to Germany. He travelled via London where he arrived in October, and where the editorial group publishing "Autonomy" gave him a mission to take printed material across Belgium to the German frontier in order to effect a clandestine introduction of the anarchist propaganda to Germany. Sepp Oerter was able to complete his mission with the help of his brother Fritz who had stayed behind when Sepp had escaped to America.
 Links: a. New York City b. Duisburg c. Emma Goldman d. New York City

Ex Output:
c


Ex Input:
Question: In what year was the re-recording of No One Is to Blame featuring Phil Collins released? Passage:In 1985, Jones released his second studio album, Dream into Action, which included backup work by the trio Afrodiziak. Afrodiziak included Caron Wheeler and Claudia Fontaine. His brother Martin played bass guitar. He had to have an extra string added to his instrument to play some of the bass lines, which had originally been scored for keyboard. One of the album's tracks, "No One Is to Blame", was later re-recorded, featuring Phil Collins as drummer and producer, and performing backing vocals. (This second version appears on Jones's U.S. EP "Action Replay, and also on the following LP One to One). Jones's most successful album, Dream Into Action was popular worldwide; it reached number two in the UK and number 10 in the US and remained on the US chart for almost a year. The singles "Life In One Day", "Things Can Only Get Better", and "Look Mama" appeared on this album. In July 1985, Jones performed at Wembley Stadium as part of the Live Aid concert, singing his 1984 hit "Hide and Seek" and playing piano. He also embarked on a world tour.
 Links: a. Things Can Only Get Better (Howard Jones song) b. No One Is to Blame c. Claudia Fontaine d. Claudia Fontaine

Ex Output:
b


Ex Input:
Question: In what era did the architectural style of Ince Blundell Hall emerge?  Passage:Ince Blundell Hall is in Georgian style. It is constructed in brick with sandstone dressings, and has an L-shaped plan. The main block faces southeast; it is in two storeys with an attic, and has a front of nine bays. Richard Pollard and Nikolaus Pevsner describe the front as being in late English Baroque style, and consider that it was "evidently inspired" by the front of Buckingham Palace, London. Between the upper storey and the attic is an entablature with a cornice and a panelled parapet. The central three bays project forward, the lower storeys are flanked by pairs of giant pilasters, and at the sides of the central doorway are giant columns. There are more pilasters at the ends of the building, and in the central three bays of the attic. All the pilasters and columns are Corinthian in style. The windows are sashes and are surrounded by architraves. The ground floor windows in the central bays have segmental heads with keystones, and those in the outer bays have friezes and pediments carried on consoles. Below the upper floor windows are panelled aprons and consoles. The central doorway has a segmental head and a keystone carved with the Blundell arms. At the corners of the front are quoins.
 Links: a. Sash window b. Sandstone c. Nikolaus Pevsner d. Georgian architecture

Ex Output:

d