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.

[EX Q]: Passage: When Stephen Herrick, a sedate, mild-mannered shipping magnate, loses his opera tickets, Mrs. Grange, the aggressive mother of his fiancée Cecilia, insists upon being seated in the Herrick box anyway. Upon finding the Duncan family ensconced in their box, Mrs. Grange incites an argument that culminates with Dot Duncan hitting Stephen with her handbag.
After the Herrick party surrenders their seats to the Duncans, Dot realizes that her brother Pigeon found Stephen's lost tickets, and the embarrassed Duncans flee the theater.
The next day, at the offices of Herrick and Martin, Stephen is introduced to his new secretary, Dot Duncan. Recognizing Dot as his assailant from the previous evening, he dismisses her, but after she explains the confusion over the tickets, Stephen relents.
Soon after, Dot's beau, wrestler Claudius J. "Coffee Cup" Cup, returns from the Navy, promising to settle down and not re-enlist. While Dot and Coffee Cup are strolling down the street one day, Coffee Cup spots his pal Eddie, who he boasts, can grow four inches just by stretching. Eddie's aptitude for elongation draws a crowd, and soon Coffee Cup is taking bets from the skeptical onlookers. Stephen is drawn into the group when Dot borrows five dollars from him, and when the contest ends in a brawl in which Stephen is knocked unconscious, Coffee Cup takes him to the Duncan house to recover. Stephen awakens to the chaos of the Duncan household as Coffee Cup practices his wrestling technique on Pigeon, Mrs. Duncan delivers a neighbor's baby and Ivory, a sailor, tinkles the piano keys. Stephen is so delighted by Dot's boisterous family and friends that he accompanies her and Coffee Cup to a dance hall and congas the night away, forgetting all about his date with the snobbish Cecilia.
[EX A]: Who finds the shipping magnate's opera tickets?

[EX Q]: Passage: Egypt first requested the return of the Rosetta Stone in July 2003, on the British Museum's 250th anniversary. Zahi Hawass, the chief of Egypt's Supreme Council of Antiquities, asked that the stele be repatriated to Egypt, commenting that it was the "icon of our Egyptian identity". He repeated the proposal two years later in Paris, listing the stone as one of several key items belonging to Egypt's cultural heritage, a list which also included: the iconic bust of Nefertiti in the Egyptian Museum of Berlin; a statue of the Great Pyramid architect Hemiunu in the Roemer-und-Pelizaeus-Museum in Hildesheim, Germany; the Dendara Temple Zodiac in the Louvre in Paris; and the bust of Ankhhaf from the Museum of Fine Arts, Boston.During 2005, the British Museum presented Egypt with a full-sized replica of the stele. This was initially displayed in the renovated Rashid National Museum, close to the site where the stone was found. In November 2005, Hawass suggested a three-month loan of the Rosetta Stone, while reiterating the eventual goal of a permanent return. In December 2009, he proposed to drop his claim for the permanent return of the Rosetta Stone if the British Museum lent the stone to Egypt for three months for the opening of the Grand Egyptian Museum at Giza in 2013. These requests were refused.
As John Ray has observed, "the day may come when the stone has spent longer in the British Museum than it ever did in Rosetta." There is strong opposition among national museums to the repatriation of objects of international cultural significance such as the Rosetta Stone. In response to repeated Greek requests for return of the Elgin Marbles from the Parthenon and similar requests to other museums around the world, in 2002 over 30 of the world's leading museums — including the British Museum, the Louvre, the Pergamon Museum in Berlin and the Metropolitan Museum in New York City — issued a joint statement declaring that "objects acquired in earlier times must be viewed in the light of different sensitivities and values reflective of that earlier era" and that "museums serve not just the citizens of one nation but the people of every nation".
[EX A]: What replica was displayed in 2005 at the Rashid National Museum?

[EX Q]: Passage: Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless.
In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that Hope was completed relatively quickly. He left no notes regarding his creation of the work, but his close friend Emilie Barrington noted that "a beautiful friend of mine", almost certainly Dorothy Dene, modelled for Hope in 1885. (Dorothy Dene, née Ada Alice Pullen, was better known as a model for Frederic Leighton but is known to have also modelled for Watts in this period. Although the facial features of Hope are obscured in Watts's painting, her distinctive jawline and hair are both recognisable.) By the end of 1885 Watts had settled on the design of the painting.
[EX A]:
What is the name of the person that depicted Hope for St Margaret's Church?