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.

Ex Input:
Passage: The museum's founder Sigurður Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavík's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurður gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurður was able to continue to collect whale penises by harvesting them from the 12–16 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurður was assisted by his family, though not without some occasional embarrassment. His daughter Þorgerður recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurður, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one."
The collection was at first housed in Sigurður's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavík and was awarded a grant from the city council of ISK 200,000 to support the opening of a museum in August 1997. By 2003, it was attracting 5,200 visitors a year, of which 4,200 were from abroad. He put the museum up for sale in 2003, but also offered it to the city of Reykjavík as a gift. However, he was unsuccessful in obtaining financial support from the state or city. When he retired in 2004, he could no longer afford the rent on the museum's premises. 
Question: What was offered to the city of Reykjavík as a gift?

Ex Output:
the museum.


Ex Input:
Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture. 
Question: What form became the primary motif of Moore's sculpture?

Ex Output:
the Chac Mool.


Ex Input:
Passage: The Cure's second album Seventeen Seconds (1980) established the group as a prominent gothic rock band, which would be followed up by Faith (1981), and Pornography (1982). Three singles were released during 1982 and 1983 that were a significant divergence in style for The Cure; essentially, pop hits. "The Love Cats" became The Cure's first single to infiltrate the top ten in the United Kingdom, peaking at number seven. This shift is attributed to Smith's frustration over the band's labelling as a predictable gothic rock band: "My reaction to all those people ... was to make a demented and calculated song like 'Let's Go to Bed'." Following the return of guitarist Porl Thompson and bassist Simon Gallup in 1984 and the addition of drummer Boris Williams in 1985, Smith and keyboardist Lol Tolhurst continued to integrate more pop-oriented themes with the release of the group's sixth studio album The Head on the Door (1985). With the singles "In-Between Days" and "Close to Me", The Cure became a viable commercial force in the United States for the first time.The band's 1987 double album Kiss Me, Kiss Me, Kiss Me resulted in further commercial success, with a sold-out world tour booked in its wake. Despite the international success the band was now enjoying, internal friction was increasing due to Tolhurst's increasing alcoholism at the time. Keyboardist Roger O'Donnell (who had recently been touring with The Psychedelic Furs), was soon hired as a second touring keyboardist. As Tolhurst's alcohol consumption increased, the other band members would tease Tolhurst, leading Smith to later comment that his behaviour was similar to that of "some kind of handicapped child being constantly poked with a stick". At the end of the Kissing Tour in support of Kiss Me, Kiss Me, Kiss Me, Smith became uncomfortable with the side effects of being a pop star and moved to Maida Vale (in West London) with fiancée Mary Poole. Regularly taking LSD to cope with his depression, Smith once again felt The Cure were being misunderstood and sought to return to the band's dark side with their next record. 
Question: What album did the Cure release after Seventeen Seconds?

Ex Output:

Faith.