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.
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Question: Question: Did Oerter stay in Germany after he moved away from Bavaria? 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. Josef Peukert b. Emma Goldman c. Emma Goldman d. Duisburg

Answer: d


Question: Question: How long had Shumilov been in the military when the Soviet invaded Poland? Passage:Colonel (promoted to Major General 4 June 1940) Mikhail Shumilov took command in April 1938. In September 1939, the corps fought in the Soviet invasion of Poland as part of the 10th Army. It included the 6th, 33rd, and the 121st Rifle Divisions at the beginning of the invasion on 17 September. By 2 October, these divisions had transferred to other units, and it included the 29th, 64th, and 145th Rifle Divisions instead. The corps headquarters relocated to Grodno in November and became part of the 11th Army. Between June and July 1940 it was briefly headquartered at Kovno before moving to Šiauliai in August, part of the Baltic Special Military District. The 11th transferred to the 8th Army in October, and included the 11th and 125th Rifle Divisions by the outbreak of the war. It defended a 40-kilometer sector on the left flank of the 8th Army, with its headquarters in the forests northwest of Skaudvilė. The 125th Rifle Division was in the corps' first echelon, holding covering the highway and railroad from Tilsit to Šiauliai. The 48th Rifle Division (part of the adjacent 10th Rifle Corps), after moving forward from Riga, was to take up positions on the left of the 125th. The corps' 73rd Corps Artillery Regiment included four battalions of 107 mm guns.
 Links: a. Mikhail Shumilov b. 11th Rifle Division c. 10th Rifle Corps d. Baltic Military District

Answer: a


Question: Question: In what city did the group of artists painting in Bamboccio's  manner operate? Passage:Pieter van Laer (1599 – c. 1642) was a Dutch Golden Age painter of genre scenes, active for over a decade in Rome, where his nickname was Il Bamboccio. Artists working in his style, who often painted just such scenes of everyday life as Pliny lists, became known as the Bamboccianti, painters in Bamboccio's manner. Peiraikos is often mentioned in the controversies over the Bamboccianti, for example by Salvator Rosa in his Satires, and later by the Dutch biographer of artists, Samuel Dirksz van Hoogstraten in his Inleyding tot de Hooge Schoole der Schilderkonst (Introduction to the Academy of Painting), Rotterdam 1678. As genre painting became an important element of Dutch Golden Age painting, Peiraikos was used to provide classical precedent for such work, in the relatively few discussions of the appropriateness of such art by Karel van Mander in his Schilder-boeck (1604) and Arnold Houbraken in his The Great Theatre of Dutch Painters (1718–1719). Having originally been often rather cheap, by the late 17th century the best Dutch genre scenes became sought after by collectors across Europe at very high prices, a development following Pliny's account of Peiraikos that was bemoaned by Lessing in his Laocoon (1763), mentioning Dutch painting specifically. 
 Links: a. The Great Theatre of Dutch Painters b. Salvator Rosa c. Bamboccianti d. Rotterdam

Answer:
c