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.

Input: Consider Input: Passage: A tsunami is an unusual form of wave caused by an infrequent powerful event such as an underwater earthquake or landslide, a meteorite impact, a volcanic eruption or a collapse of land into the sea. These events can temporarily lift or lower the surface of the sea in the affected area, usually by a few feet. The potential energy of the displaced seawater is turned into kinetic energy, creating a shallow wave, a tsunami, radiating outwards at a velocity proportional to the square root of the depth of the water and which therefore travels much faster in the open ocean than on a continental shelf. In the deep open sea, tsunamis have wavelengths of around 80 to 300 miles (130 to 480 km), travel at speeds of over 600 miles per hour (970 km/hr) and usually have a height of less than three feet, so they often pass unnoticed at this stage. In contrast, ocean surface waves caused by winds have wavelengths of a few hundred feet, travel at up to 65 miles per hour (105 km/h) and are up to 45 feet (14 metres) high.A trigger event on the continental shelf may cause a local tsunami on the land side and a distant tsunami that travels out across the ocean. The energy of the wave is dissipated only gradually, but is spread out over the wave front, so as the wave radiates away from the source, the front gets longer and the average energy reduces, so distant shores will, on average, be hit by weaker waves. However, as the speed of the wave is controlled by the water depth, it does not travel at the same speed in all directions, and this affects the direction of the wave front - an effect known as refraction - which can focus the strength of the advancing tsunami on some areas and weaken it in others according to undersea topography.
As a tsunami moves into shallower water its speed decreases, its wavelength shortens and its amplitude increases enormously, behaving in the same way as a wind-generated wave in shallow water, but on a vastly greater scale.  Either the trough or the crest of a tsunami can arrive at the coast first. In the former case, the sea draws back and leaves subtidal areas close to the shore exposed which provides a useful warning for people on land. When the crest arrives, it does not usually break but rushes inland, flooding all in its path. Much of the destruction may be caused by the flood water draining back into the sea after the tsunami has struck, dragging debris and people with it. Often several tsunami are caused by a single geological event and arrive at intervals of between eight minutes and two hours. The first wave to arrive on shore may not be the biggest or most destructive.  Occasionally, a tsunami may transform into a bore, typically in a shallow bay or an estuary.

Output: What two types of tsunami's can a trigger event on the continental shelf cause?


Input: Consider Input: Passage: In the late 19th and early 20th centuries, child vaudevillian Buster Keaton stays in boarding houses, rides in train boxcars, and performs with his mother and father in a knock-about (physical comedy) act called The Three Keatons. As a young man Keaton travels on his own to Hollywood and tricks his way onto the grounds of silent-film studio Famous Studio as a workman carrying a board, as in one of his trademark comic bits. 
Sneaking onto a set, he attracts the attention of a young casting director, Gloria Brent. He demonstrates his type of physical comedy to a director Kurt Bergner, whom he does not impress. But Gloria recognizes his talent and recommends him to studio head Larry Winters, who offers him a contract. Keaton begins to get small parts in other people's pictures. As his comic talent becomes more apparent and his fame and money-making power grows, he is offered a contract to direct and star in his own silent films.
Dissatisfied with not sharing the profits of his films, he is told that he must invest in his own pictures in order to profit-share. He does in "The Gambler", which is released at the same time as Al Jolson's blockbuster talkie, "The Jazz Singer", reducing public interest in it. Buster struggles to adapt to performing in talking pictures.

Output: What is the full name of the person who fails to impress Kurt Bergner?


Input: Consider Input: Passage: The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.


Output: The influence of what can be seen as in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein?