TASK DEFINITION: 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.
PROBLEM: Passage: After the studio sessions, Bloc Party embarked on a tour of North American and European summer festivals. One of the recorded tracks, "Mercury", was released as a single on 11 August 2008 and peaked at number 16 on the UK Singles Chart. At the time, the band confirmed the existence of further material, but noted that a record release date was scheduled for the end of 2008 at the earliest. Bloc Party unexpectedly announced the completion of Intimacy on 18 August 2008 via a webcast and confirmed a release within 60 hours. The band members wanted to revive the importance of a new album's release in an era in which the excitement has dissipated because of extensive Internet coverage. They were inspired by Radiohead's marketing of In Rainbows in 2007, but did not consider a "free" sale option. Little press was undertaken in the UK to promote the record because of Okereke's reluctance to discuss personal aspects of his life.
Intimacy was made available for download on Bloc Party's website on 21 August 2008. Ten MP3 tracks were sold with a plain black JPEG cover for £5, and a £10 option for the online songs and the future expanded CD was also available. The album title was picked as a "double bluff" with regard to people's expectations; Okereke has explained, "You'd think of wet balladeering. You don't think it's gonna be ugly or harsh. But that's what relationships are really like. It's not just about good times." The release was called "rushed" by publications such as Billboard and The Independent. Tong disagreed with the label and stated that Bloc Party wanted to make a statement that was surprising to anyone interested in their work.The band showcased tracks from Intimacy at Reading Festival at the end of August 2008 and embarked on a North American tour during September. UK appearances on the MTV2 Gonzo Tour and the release of the second single, "Talons", preceded the physical release of the album in October, which entered the UK Albums Chart at number eight. In the U.S, the record sold 24,000 copies during the first week of release and debuted at number 18 on the Billboard 200. By August 2012 it had sold 85,000 copies in the United States. Comprehensive sales figures have not been published because the digital download data has not been publicly reported by Bloc Party. The chosen cover art is a stylised shot of a couple kissing, taken by freelance photographer Perry Curties. It was ranked at number 23 on Gigwise's list of The Best Album Covers of 2008, in which the publication called it "intimate and rather ambiguous".

SOLUTION: Which record sold 24,000 copies during the first week of release and debuted at number 18 on the Billboard 200??

PROBLEM: Passage: By the time Hope was exhibited, Watts had already committed himself to donate his most significant works to the nation, and although he received multiple offers for the painting he thought it inappropriate not to include Hope in this donation, in light of the fact that it was already being considered one of his most important pictures. In mid-1886 Watts and his assistant Cecil Schott painted a duplicate of the piece, with the intention that this duplicate be donated to the nation allowing him to sell the original. Although the composition of this second painting is identical, it is radically different in feel. The central figure is smaller in relation to the globe, and the colours darker and less sumptuous, giving it an intentionally gloomier feel than the original.In late 1886 this second version was one of nine paintings donated to the South Kensington Museum (now the Victoria and Albert Museum) in the first instalment of Watts's gift to the nation. Meanwhile, the original was briefly displayed in Nottingham before being sold to the steam tractor entrepreneur Joseph Ruston in 1887. Its whereabouts was long unknown until in 1986 it was auctioned at Sotheby's for £869,000 (about £2,500,000 in 2019 terms), 100 years after its first exhibition.On their donation to the South Kensington Museum, the nine works donated by Watts were hung on the staircase leading to the library, but Hope proved a popular loan to other institutions as a symbol of current British art. At the Royal Jubilee Exhibition of 1887 in Manchester, an entire wall was dedicated to the works of Watts. Hope, only recently completed but already the most famous of Watts's works, was placed at the centre of this display. It was then exhibited at the 1888 Melbourne Centennial Exhibition and the 1889 Exposition Universelle in Paris, before being moved to Munich for display at the Glaspalast. In 1897 it was one of the 17 Watts works transferred to the newly created National Gallery of British Art (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works. The Tate Gallery considered Hope one of the highlights of their collection and did not continue the South Kensington Museum's practice of lending the piece to overseas exhibitions.

SOLUTION: What is the last name of the person who wanted to donate a duplicate to the nation so he could sell the original?

PROBLEM: Passage: Other early Welsh Arthurian texts include a poem found in the Black Book of Carmarthen, "Pa gur yv y porthaur?" ("What man is the gatekeeper?"). This takes the form of a dialogue between Arthur and the gatekeeper of a fortress he wishes to enter, in which Arthur recounts the names and deeds of himself and his men, notably Cei (Kay) and Bedwyr (Bedivere). The Welsh prose tale Culhwch and Olwen (c. 1100), included in the modern Mabinogion collection, has a much longer list of more than 200 of Arthur's men, though Cei and Bedwyr again take a central place. The story as a whole tells of Arthur helping his kinsman Culhwch win the hand of Olwen, daughter of Ysbaddaden Chief-Giant, by completing a series of apparently impossible tasks, including the hunt for the great semi-divine boar Twrch Trwyth. The 9th-century Historia Brittonum also refers to this tale, with the boar there named Troy(n)t. Finally, Arthur is mentioned numerous times in the Welsh Triads, a collection of short summaries of Welsh tradition and legend which are classified into groups of three linked characters or episodes to assist recall. The later manuscripts of the Triads are partly derivative from Geoffrey of Monmouth and later continental traditions, but the earliest ones show no such influence and are usually agreed to refer to pre-existing Welsh traditions. Even in these, however, Arthur's court has started to embody legendary Britain as a whole, with "Arthur's Court" sometimes substituted for "The Island of Britain" in the formula "Three XXX of the Island of Britain". While it is not clear from the Historia Brittonum and the Annales Cambriae that Arthur was even considered a king, by the time Culhwch and Olwen and the Triads were written he had become Penteyrnedd yr Ynys hon, "Chief of the Lords of this Island", the overlord of Wales, Cornwall and the North.In addition to these pre-Galfridian Welsh poems and tales, Arthur appears in some other early Latin texts besides the Historia Brittonum and the Annales Cambriae. In particular, Arthur features in a number of well-known vitae ("Lives") of post-Roman saints, none of which are now generally considered to be reliable historical sources (the earliest probably dates from the 11th century). According to the Life of Saint Gildas, written in the early 12th century by Caradoc of Llancarfan, Arthur is said to have killed Gildas' brother Hueil and to have rescued his wife Gwenhwyfar from Glastonbury. In the Life of Saint Cadoc, written around 1100 or a little before by Lifris of Llancarfan, the saint gives protection to a man who killed three of Arthur's soldiers, and Arthur demands a herd of cattle as wergeld for his men. Cadoc delivers them as demanded, but when Arthur takes possession of the animals, they turn into bundles of ferns. Similar incidents are described in the medieval biographies of Carannog, Padarn, and Eufflam, probably written around the 12th century. A less obviously legendary account of Arthur appears in the Legenda Sancti Goeznovii, which is often claimed to date from the early 11th century (although the earliest manuscript of this text dates from the 15th century and the text is now dated to the late 12th to early 13th century). Also important are the references to Arthur in William of Malmesbury's De Gestis Regum Anglorum and Herman's De Miraculis Sanctae Mariae Laudensis, which together provide the first certain evidence for a belief that Arthur was not actually dead and would at some point return, a theme that is often revisited in post-Galfridian folklore.

SOLUTION:
What is the specific Welsh name of that which takes the form of a dialogue between Arthur and the gatekeeper of a fortress he wishes to enter, in which Arthur recounts the names and deeds of himself and his men, notably Cei (Kay) and Bedwyr (Bedivere)?