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 Input:
Passage: At 53°27′46″N 2°25′54″W (53.4629, -2.4316), Chat Moss lies at the southern edge of the Lancashire Plain, an area of Bunter sandstones overlaid with marls laid down during the Late Triassic period. Those rocks are themselves overlaid by a layer of boulder clay deposited during the last ice age, about 10,000 years ago. The combination of the flat topography and the underlying clay resulted in extensive peat bogs developing along the Mersey Valley, and overflowing beyond the valley. The bogs in the area between the River Glaze in the west, and Worsley and Eccles in the east, to the north of what was the River Irwell – now the Manchester Ship Canal – are known collectively as Chat Moss.
Chat Moss is a lowland raised bog. In areas where drainage is poor, water-logging can slow down plant decomposition, producing peat, which over the years can raise the level of the bog above that of the surrounding land. The moss occupies an area of about 10.6 square miles (27.5 km2), and is about 5 miles (8 km) long, about 2.5 miles (4.0 km) across at its widest point, lying 75 feet (23 m) above sea level. Chat Moss lies mainly in Salford, but extends into Wigan. By the 1990s, an estimated 72 per cent of the bog had been reclaimed, most of it for agriculture. About 230 acres (93 ha) of degraded bog remain, with 766 acres (310 ha) of undamaged peat deposits in four former peat extraction sites. The peat varies in depth between 24 feet (7 m) and 30 feet (9 m).The main bog mosses found in the peat of Chat Moss are Sphagnum cuspidatum, S. imbricatum, and S. acutifolia. The peat up to about 7 feet (2 m) from the surface is mainly humidified S. acutifolia, with fresher S. imbricatum peat nearer the surface.A 228-acre (92 ha) area of Chat Moss, to the north of the Liverpool–Manchester railway line, notified as Astley & Bedford Mosses, was designated a Site of Special Scientific Interest in 1989. Astley & Bedford Mosses, along with Risley Moss and Holcroft Moss, is also a European Union designated Special Area of Conservation, known as Manchester Mosses.The major habitats in the moss are bog, heathland, woodland and acidic grassland, subject to varying degrees of wetness depending on the local drainage. The remaining areas of bog are dominated by common cottongrass Eriophorum angustifolium and.

Ex Output:
What are the major habitats of the location that lies at the southern edge of Lancashire Plain?


Ex Input:
Passage: I was told that I did not learn respect at school. I learned one thing: I learned about self-respect and self-regard for Australia—not about some cultural cringe to a country which decided not to defend the Malayan peninsula, not to worry about Singapore and not to give us our troops back to keep ourselves free from Japanese domination. This was the country that you people wedded yourself to, and even as it walked out on you and joined the Common Market, you were still looking for your MBEs and your knighthoods, and all the rest of the regalia that comes with it.
A fleet was necessary for the defeat of Japan, and eventually a sizeable one, the British Pacific Fleet, did go to the Far East, where it fought alongside the United States Pacific Fleet. The closer relations that developed between the two navies prior to the outbreak of war with Japan, and the alliance that developed from it afterwards, became the most positive and enduring strategic legacy of the Singapore strategy.The Singapore Naval Base suffered little damage in the fighting and became the Imperial Japanese Navy's most important facility outside of the Japanese home islands. The 15-inch guns were sabotaged by the British before the fall of Singapore, and four of them were deemed beyond repair and scrapped by the Japanese. The floating dry dock was scuttled by the British, but raised by the Japanese. It was damaged beyond repair by a raid by Boeing B-29 Superfortresses in February 1945, and ultimately towed out to sea and dumped in 1946. The Royal Navy retook possession of the Singapore base in 1945.

Ex Output:
What did the Royal Navy retake possession of in 1945?


Ex Input:
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

Ex Output:

What is the last name of the person who found critical and commercial success in Paris?