In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows – "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy – but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism and the deliberateness of classicism", and her "romantically classical" approach. Despite the generally positive views, there were some reservations, particularly that the artist might be at risk of settling upon, and then repeating, a formula in her work. Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends", and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not. 
Question: Whose "vigorous imaginativeness" was commented upon?

A: Bellette.
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Q: Passage: Drake ended his studies at Cambridge nine months before graduation, and in autumn 1969 moved to London. His father remembered "writing him long letters, pointing out the disadvantages of going away from Cambridge ... a degree was a safety net, if you manage to get a degree, at least you have something to fall back on; his reply to that was that a safety net was the one thing he did not want." Drake spent his first few months in London drifting from place to place, occasionally staying at his sister's Kensington flat but usually sleeping on friends’ sofas and floors. Eventually, in an attempt to bring some stability and a telephone into Drake's life, Boyd organised and paid for a ground floor bedsit in Belsize Park, Camden.
On 5 August 1969, Drake recorded five songs for the BBC's John Peel show ("Cello Song", "Three Hours", "River Man", "Time of No Reply" and an early version of "Bryter Layter"), three of which were broadcast on the following night. A month later, on 24 September, he opened for Fairport Convention at the Royal Festival Hall in London, followed by appearances at folk clubs in Birmingham and Hull. Folk singer Michael Chapman said of the performances:The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!
The experience reinforced Drake's decision to retreat from live appearances; the few concerts he did play around this time were usually brief, awkward, and poorly attended. Drake seemed reluctant to perform and rarely addressed his audience. As many of his songs were played in different tunings, he frequently paused to retune between numbers. 
Question: Where did the man who did not like to play in front of live audiences end his studies?

A: Cambridge.
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Q: Passage: On 21 February 1915, Endurance, still held fast, drifted to her most southerly latitude, 76° 58′S. Thereafter she began moving with the pack in a northerly direction. On 24 February, Shackleton realised that they would be held in the ice throughout the winter, and ordered ship's routine abandoned. The dogs were taken off board and housed in ice-kennels or "dogloos", and the ship's interior was converted to suitable winter quarters for the various groups of men—officers, scientists, engineers, and seamen. A wireless apparatus was rigged, but their location was too remote to receive or transmit signals.Shackleton was aware of the recent example of Wilhelm Filchner's ship, the Deutschland, which had become icebound in the same vicinity three years earlier. After Filchner's attempts to establish a land base at Vahsel Bay failed, his ship Deutschland was trapped on 6 March 1912, about 200 miles (320 km) off the coast of Coats Land. Six months later, at latitude 63° 37', the ship broke free, then sailed to South Georgia apparently none the worse for its ordeal. Shackleton thought that a similar experience might allow Endurance to make a second attempt to reach Vahsel Bay in the following Antarctic spring.In February and March, the rate of drift was very slow. At the end of March Shackleton calculated that the ship had travelled a mere 95 miles (153 km) since 19 January. However, as winter set in the speed of the drift increased, and the condition of the surrounding ice changed. On 14 April, Shackleton recorded the nearby pack "piling and rafting against the masses of ice"—if the ship was caught in this disturbance "she would be crushed like an eggshell". In May, as the sun set for the winter months, the ship was at 75° 23′S, 42° 14′W, still drifting northwards. It would be at least four months before spring brought the chance of an opening of the ice, and there was no certainty that Endurance would break free in time to attempt a return to the Vahsel Bay area. Shackleton now considered the possibility of finding an alternative landing ground on the western shores of the Weddell Sea, if that coast could be reached. "In the meantime", he wrote, "we must wait". 
Question: What is the first name of the person whose ship was trapped in March of 1912?

A:
Wilhelm.
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