niryuu/sni-each-converted huggingface dataset:
Passage: In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".
Output: What is the full name of the person who painted a mirror positioned at the back of the pictorial space?
Passage: In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".
Output: What is the name of the painting that is a a reflection of ideal character?
Passage: In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".
Output: What is the name of the painter of the Las Meninas?
Passage: In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".
Output: What are the names of the two paintings that have a mirror positioned in the back of the pictorial space?
Passage: Mary Ann has been tormented her whole life by dreams of a sinister figure called the Red King and his morbid fairytale kingdom. Following the death of her father, she returns to her family home where she recalls the childhood stories of the Red King and Alice from Alice's Adventures in Wonderland that her father once read to her. Within the decaying and neglected state of the gothic family house, Mary Ann soon discovers that her once highly religious and abusive mother is now secretly engaging in black magic.
A brutal bewitching attack from her mother propels Mary Ann into the twisted, fairy tale dream world of the Red King. In this dream world Mary Ann encounters an unlikely guide in the form of a mysterious, Cheshire Cat masked little girl calling herself Alice. Alice prompts Mary Ann to question the relevancy of the dreamscape and whether this is Mary Ann's dream or that of the Red King's.
Haunting events and emergence of suppressed memories force Mary Ann to unlock secrets of her painful childhood as she journeys through the realms of the dream world, landing in a final confrontation with the Red King. Mary Ann must face this embodiment of her childhood fears to forever gain closure to the pains and horrors of her past.
Output: Who torments the daughter of the woman practicing black magic?
Passage: Mary Ann has been tormented her whole life by dreams of a sinister figure called the Red King and his morbid fairytale kingdom. Following the death of her father, she returns to her family home where she recalls the childhood stories of the Red King and Alice from Alice's Adventures in Wonderland that her father once read to her. Within the decaying and neglected state of the gothic family house, Mary Ann soon discovers that her once highly religious and abusive mother is now secretly engaging in black magic.
A brutal bewitching attack from her mother propels Mary Ann into the twisted, fairy tale dream world of the Red King. In this dream world Mary Ann encounters an unlikely guide in the form of a mysterious, Cheshire Cat masked little girl calling herself Alice. Alice prompts Mary Ann to question the relevancy of the dreamscape and whether this is Mary Ann's dream or that of the Red King's.
Haunting events and emergence of suppressed memories force Mary Ann to unlock secrets of her painful childhood as she journeys through the realms of the dream world, landing in a final confrontation with the Red King. Mary Ann must face this embodiment of her childhood fears to forever gain closure to the pains and horrors of her past.
Output: What does the morbid fairytale kingdom represent?
Passage: Mary Ann has been tormented her whole life by dreams of a sinister figure called the Red King and his morbid fairytale kingdom. Following the death of her father, she returns to her family home where she recalls the childhood stories of the Red King and Alice from Alice's Adventures in Wonderland that her father once read to her. Within the decaying and neglected state of the gothic family house, Mary Ann soon discovers that her once highly religious and abusive mother is now secretly engaging in black magic.
A brutal bewitching attack from her mother propels Mary Ann into the twisted, fairy tale dream world of the Red King. In this dream world Mary Ann encounters an unlikely guide in the form of a mysterious, Cheshire Cat masked little girl calling herself Alice. Alice prompts Mary Ann to question the relevancy of the dreamscape and whether this is Mary Ann's dream or that of the Red King's.
Haunting events and emergence of suppressed memories force Mary Ann to unlock secrets of her painful childhood as she journeys through the realms of the dream world, landing in a final confrontation with the Red King. Mary Ann must face this embodiment of her childhood fears to forever gain closure to the pains and horrors of her past.
Output: What is the full name of the person whose father died?
Passage: Explosions recurred at irregular intervals on Lassen Peak for most of 1914. Later, on May 19, 1915, a mass of lava rose in the summit crater and spilled 1,000 ft (300 m) down the western side of the volcano. Extensive lahars (mudflows) were created on the northeastern side as snowbanks were melted. The resulting debris swept down the slope. Divided by Raker Peak, part of this mudflow raced down Lost Creek; the remaining flow passed over the 100 ft (30 m) rise east of the park road and rushed down Hat Creek. A wide barren swath was torn through the forest.
A great explosion blasted out a new crater three days later on May 22, 1915. A volcanic cloud rose 40,000 ft (12,000 m), but a portion of the explosive force was deflected downward. The resulting pyroclastic flow of super-heated gas, rocks and ash roared down the same path taken by the mudflow, resulting in further damage along the headwaters of Hat and Lost Creeks. Ash from the eruption blew eastward with some fine ash falling at least as far as 200 mi (320 km) from the volcano.The last major eruptions of Lassen Peak occurred in April through June 1917, when a new crater was created at the summit of the mountain. Less explosive activity continued through 1921. Some authorities, such as the Smithsonian, consider the eruption of Mount Lassen to have ended on June 29, 1917.Since then, the volcano has been dormant, although some steam still rises from small vents in its summit and on its flanks. Pumice ejected during the 1915 eruption of Lassen Peak is conspicuously banded with light streaks of dacite and dark andesite, which appears to represent two distinct magmas imperfectly mixed during the eruption. The 1915 eruption of Lassen Peak was the second most recent volcanic outburst in the contiguous 48 U.S. states (after the 1980 eruption of Mount St. Helens in Washington).
Output: What volcano has a more recent outburst in the contiguous U.S. than the one that last erupted in June 1917?
Passage: Twenty-eight-year-old Jessica Stein is a copy editor at a New York paper. Her brother has just gotten engaged, her best friend Joan is about to start a family and her Jewish mother is worried that she will end up alone. Having endured a lot of awful blind dates searching for Mr Right, Jessica's interest is piqued by a personal ad in the paper from a woman seeking another woman for friendship and more, and which includes her favorite quote about relationships by Rilke. The ad was placed by Helen Cooper, who works at an Art gallery. Dissatisfied with casual sex with men, Helen is looking to try something different.
On a whim Jessica replies to the ad, but gets cold feet when they meet up, apologizes and rushes out. Helen chases after her and persuades her to stay for one drink. They find out that they have a lot in common, get along well and go for dinner. Helen challenges Jessica's assumptions about what will make her happy and then kisses her goodnight. The two start going out on dates and making out on the couch afterwards. This becomes frustrating for Helen who has fallen in love with Jessica and wants things to move faster. However, the usually uptight Jessica is now happy, confident and carefree. This is noticed at her work and attracts interest, especially from her boss Josh, but Jessica insists that she has not found a boyfriend.
Output: What are the full names of the people who kiss on the sofa?
Passage: Twenty-eight-year-old Jessica Stein is a copy editor at a New York paper. Her brother has just gotten engaged, her best friend Joan is about to start a family and her Jewish mother is worried that she will end up alone. Having endured a lot of awful blind dates searching for Mr Right, Jessica's interest is piqued by a personal ad in the paper from a woman seeking another woman for friendship and more, and which includes her favorite quote about relationships by Rilke. The ad was placed by Helen Cooper, who works at an Art gallery. Dissatisfied with casual sex with men, Helen is looking to try something different.
On a whim Jessica replies to the ad, but gets cold feet when they meet up, apologizes and rushes out. Helen chases after her and persuades her to stay for one drink. They find out that they have a lot in common, get along well and go for dinner. Helen challenges Jessica's assumptions about what will make her happy and then kisses her goodnight. The two start going out on dates and making out on the couch afterwards. This becomes frustrating for Helen who has fallen in love with Jessica and wants things to move faster. However, the usually uptight Jessica is now happy, confident and carefree. This is noticed at her work and attracts interest, especially from her boss Josh, but Jessica insists that she has not found a boyfriend.
Output: What are the full names of the people interested in Jessica?
Passage: Twenty-eight-year-old Jessica Stein is a copy editor at a New York paper. Her brother has just gotten engaged, her best friend Joan is about to start a family and her Jewish mother is worried that she will end up alone. Having endured a lot of awful blind dates searching for Mr Right, Jessica's interest is piqued by a personal ad in the paper from a woman seeking another woman for friendship and more, and which includes her favorite quote about relationships by Rilke. The ad was placed by Helen Cooper, who works at an Art gallery. Dissatisfied with casual sex with men, Helen is looking to try something different.
On a whim Jessica replies to the ad, but gets cold feet when they meet up, apologizes and rushes out. Helen chases after her and persuades her to stay for one drink. They find out that they have a lot in common, get along well and go for dinner. Helen challenges Jessica's assumptions about what will make her happy and then kisses her goodnight. The two start going out on dates and making out on the couch afterwards. This becomes frustrating for Helen who has fallen in love with Jessica and wants things to move faster. However, the usually uptight Jessica is now happy, confident and carefree. This is noticed at her work and attracts interest, especially from her boss Josh, but Jessica insists that she has not found a boyfriend.
Output: What attracts Josh's attention to the copy editor?
Passage: Nisa is a native princess of a northern Brazilian tribe who comes to Los Angeles to stop an American corporation from destroying her rainforest home. With her is tribal shaman Joa, who uses black magic to get past the company guards and see the chairman of the corporation, resulting in his arrest.
Left to fend for herself in Los Angeles alone, Nisa, with the help of Carmen, finds work in a Beverly Hills mansion as the servant of an uptight couple whose son, Jason, lives only to dance. After spying on Nisa as she dances provocatively in her bedroom, Jason takes her out to a club. She is rejected by Jason's friends, and he is berated by his parents for dating the help.
Nisa runs away and gets a job at Xtasy, a sleazy dance joint/brothel, as a dance partner for male customers. Jason's friends visits the club and want to dance with Nisa, but Nisa refuses to dance with them. One of Jason's friends becomes sleazy towards her and she knees him in the groin. Later, the friends tell Ashley, Jason's girlfriend, and she runs back and tells Jason his little girlfriend is a sleaze working at Xtasy. He becomes morose, turns away from his buddies and girlfriend Ashley and goes to Xtasy to try to take Nisa out of the place. A bouncer beats up the would-be rescuer and prepares to deflower Nisa, but Joa walks in and magically stuns the attacker, which clears the place.
The shaman then heads back to the tribe, while Nisa and Jason, now in love, prepare for a dance contest, hoping to speak out about the plight of the rainforest when they are showcased on TV.
They win the contest, but the corporation's head stooge, Benjamin Maxwell, kidnaps Nisa afterwards. Jason finds them and helps Nisa to escape but twists his ankle, ruining their chances of performing on the show.
Output: Who knees one of Jason's friends in the groin?
Passage: Nisa is a native princess of a northern Brazilian tribe who comes to Los Angeles to stop an American corporation from destroying her rainforest home. With her is tribal shaman Joa, who uses black magic to get past the company guards and see the chairman of the corporation, resulting in his arrest.
Left to fend for herself in Los Angeles alone, Nisa, with the help of Carmen, finds work in a Beverly Hills mansion as the servant of an uptight couple whose son, Jason, lives only to dance. After spying on Nisa as she dances provocatively in her bedroom, Jason takes her out to a club. She is rejected by Jason's friends, and he is berated by his parents for dating the help.
Nisa runs away and gets a job at Xtasy, a sleazy dance joint/brothel, as a dance partner for male customers. Jason's friends visits the club and want to dance with Nisa, but Nisa refuses to dance with them. One of Jason's friends becomes sleazy towards her and she knees him in the groin. Later, the friends tell Ashley, Jason's girlfriend, and she runs back and tells Jason his little girlfriend is a sleaze working at Xtasy. He becomes morose, turns away from his buddies and girlfriend Ashley and goes to Xtasy to try to take Nisa out of the place. A bouncer beats up the would-be rescuer and prepares to deflower Nisa, but Joa walks in and magically stuns the attacker, which clears the place.
The shaman then heads back to the tribe, while Nisa and Jason, now in love, prepare for a dance contest, hoping to speak out about the plight of the rainforest when they are showcased on TV.
They win the contest, but the corporation's head stooge, Benjamin Maxwell, kidnaps Nisa afterwards. Jason finds them and helps Nisa to escape but twists his ankle, ruining their chances of performing on the show.
Output: What is the name of the person that twists their ankle?
Passage: Nisa is a native princess of a northern Brazilian tribe who comes to Los Angeles to stop an American corporation from destroying her rainforest home. With her is tribal shaman Joa, who uses black magic to get past the company guards and see the chairman of the corporation, resulting in his arrest.
Left to fend for herself in Los Angeles alone, Nisa, with the help of Carmen, finds work in a Beverly Hills mansion as the servant of an uptight couple whose son, Jason, lives only to dance. After spying on Nisa as she dances provocatively in her bedroom, Jason takes her out to a club. She is rejected by Jason's friends, and he is berated by his parents for dating the help.
Nisa runs away and gets a job at Xtasy, a sleazy dance joint/brothel, as a dance partner for male customers. Jason's friends visits the club and want to dance with Nisa, but Nisa refuses to dance with them. One of Jason's friends becomes sleazy towards her and she knees him in the groin. Later, the friends tell Ashley, Jason's girlfriend, and she runs back and tells Jason his little girlfriend is a sleaze working at Xtasy. He becomes morose, turns away from his buddies and girlfriend Ashley and goes to Xtasy to try to take Nisa out of the place. A bouncer beats up the would-be rescuer and prepares to deflower Nisa, but Joa walks in and magically stuns the attacker, which clears the place.
The shaman then heads back to the tribe, while Nisa and Jason, now in love, prepare for a dance contest, hoping to speak out about the plight of the rainforest when they are showcased on TV.
They win the contest, but the corporation's head stooge, Benjamin Maxwell, kidnaps Nisa afterwards. Jason finds them and helps Nisa to escape but twists his ankle, ruining their chances of performing on the show.
Output: What is the name of the person berated for dating the help?
Passage: Babysitter Jeannie (voiced by Julie Bennett) is instructed to look after the baby while his mother (also voiced by Julie Bennett) goes out. However, Jeannie pays more attention to talking on the telephone apathetically than her actual babysitting. In the midst of Tom and Jerry's usual fighting, they see the baby crawling out of its pram. Any attempt to return the baby to where it came from simply results in the baby escaping from the pram again. During one escape, the baby crawls into Spike's dog house. Tom accidentally grabs Spike instead of the baby, and is promptly attacked, scratched and bit. This time, Tom angrily brings the baby back to Jeannie herself, who hits Tom over the head with a broom, thinking that Tom has taken the baby away from her.
Realising that the baby is no longer worth the trouble, Tom does nothing the next time that it crawls from its pram. However, he and Jerry are forced to react after the baby crawls down to the street and into a 100-story mixed-use skyscraper construction site. The baby crawls from one steel beam to another while the two look on. Jerry manages to catch up, and saves the baby from crawling off a wooden plank lying on the 50th floor by grabbing his diaper. The diaper comes loose, and the baby falls, but he is then caught by Tom. Tom attempts to put the baby's diaper back on, but in the impending confusion, ends up putting the diaper on himself while the baby crawls off, nonchalantly.
Tom and Jerry catch up with the baby, only to lose it again, and fearing that it has crawled into a cement mixer on the 30th floor, the two dive straight in, only to find that the baby never did enter the mixer but instead playing with a hammer. The baby then playfully bonks Tom on the head.
Output: Who, along with Jerry, is forced to react after the baby crawls into a construction site?
Passage: Babysitter Jeannie (voiced by Julie Bennett) is instructed to look after the baby while his mother (also voiced by Julie Bennett) goes out. However, Jeannie pays more attention to talking on the telephone apathetically than her actual babysitting. In the midst of Tom and Jerry's usual fighting, they see the baby crawling out of its pram. Any attempt to return the baby to where it came from simply results in the baby escaping from the pram again. During one escape, the baby crawls into Spike's dog house. Tom accidentally grabs Spike instead of the baby, and is promptly attacked, scratched and bit. This time, Tom angrily brings the baby back to Jeannie herself, who hits Tom over the head with a broom, thinking that Tom has taken the baby away from her.
Realising that the baby is no longer worth the trouble, Tom does nothing the next time that it crawls from its pram. However, he and Jerry are forced to react after the baby crawls down to the street and into a 100-story mixed-use skyscraper construction site. The baby crawls from one steel beam to another while the two look on. Jerry manages to catch up, and saves the baby from crawling off a wooden plank lying on the 50th floor by grabbing his diaper. The diaper comes loose, and the baby falls, but he is then caught by Tom. Tom attempts to put the baby's diaper back on, but in the impending confusion, ends up putting the diaper on himself while the baby crawls off, nonchalantly.
Tom and Jerry catch up with the baby, only to lose it again, and fearing that it has crawled into a cement mixer on the 30th floor, the two dive straight in, only to find that the baby never did enter the mixer but instead playing with a hammer. The baby then playfully bonks Tom on the head.
Output: Who is caught by Tom when the diaper comes loose?
Passage: Babysitter Jeannie (voiced by Julie Bennett) is instructed to look after the baby while his mother (also voiced by Julie Bennett) goes out. However, Jeannie pays more attention to talking on the telephone apathetically than her actual babysitting. In the midst of Tom and Jerry's usual fighting, they see the baby crawling out of its pram. Any attempt to return the baby to where it came from simply results in the baby escaping from the pram again. During one escape, the baby crawls into Spike's dog house. Tom accidentally grabs Spike instead of the baby, and is promptly attacked, scratched and bit. This time, Tom angrily brings the baby back to Jeannie herself, who hits Tom over the head with a broom, thinking that Tom has taken the baby away from her.
Realising that the baby is no longer worth the trouble, Tom does nothing the next time that it crawls from its pram. However, he and Jerry are forced to react after the baby crawls down to the street and into a 100-story mixed-use skyscraper construction site. The baby crawls from one steel beam to another while the two look on. Jerry manages to catch up, and saves the baby from crawling off a wooden plank lying on the 50th floor by grabbing his diaper. The diaper comes loose, and the baby falls, but he is then caught by Tom. Tom attempts to put the baby's diaper back on, but in the impending confusion, ends up putting the diaper on himself while the baby crawls off, nonchalantly.
Tom and Jerry catch up with the baby, only to lose it again, and fearing that it has crawled into a cement mixer on the 30th floor, the two dive straight in, only to find that the baby never did enter the mixer but instead playing with a hammer. The baby then playfully bonks Tom on the head.
Output: Who accidentally puts the diaper on while the baby crawls off?
Passage: Babysitter Jeannie (voiced by Julie Bennett) is instructed to look after the baby while his mother (also voiced by Julie Bennett) goes out. However, Jeannie pays more attention to talking on the telephone apathetically than her actual babysitting. In the midst of Tom and Jerry's usual fighting, they see the baby crawling out of its pram. Any attempt to return the baby to where it came from simply results in the baby escaping from the pram again. During one escape, the baby crawls into Spike's dog house. Tom accidentally grabs Spike instead of the baby, and is promptly attacked, scratched and bit. This time, Tom angrily brings the baby back to Jeannie herself, who hits Tom over the head with a broom, thinking that Tom has taken the baby away from her.
Realising that the baby is no longer worth the trouble, Tom does nothing the next time that it crawls from its pram. However, he and Jerry are forced to react after the baby crawls down to the street and into a 100-story mixed-use skyscraper construction site. The baby crawls from one steel beam to another while the two look on. Jerry manages to catch up, and saves the baby from crawling off a wooden plank lying on the 50th floor by grabbing his diaper. The diaper comes loose, and the baby falls, but he is then caught by Tom. Tom attempts to put the baby's diaper back on, but in the impending confusion, ends up putting the diaper on himself while the baby crawls off, nonchalantly.
Tom and Jerry catch up with the baby, only to lose it again, and fearing that it has crawled into a cement mixer on the 30th floor, the two dive straight in, only to find that the baby never did enter the mixer but instead playing with a hammer. The baby then playfully bonks Tom on the head.
Output: Who is it that Tom and Jerry fear has crawled into a cement mixer?
Passage: Babysitter Jeannie (voiced by Julie Bennett) is instructed to look after the baby while his mother (also voiced by Julie Bennett) goes out. However, Jeannie pays more attention to talking on the telephone apathetically than her actual babysitting. In the midst of Tom and Jerry's usual fighting, they see the baby crawling out of its pram. Any attempt to return the baby to where it came from simply results in the baby escaping from the pram again. During one escape, the baby crawls into Spike's dog house. Tom accidentally grabs Spike instead of the baby, and is promptly attacked, scratched and bit. This time, Tom angrily brings the baby back to Jeannie herself, who hits Tom over the head with a broom, thinking that Tom has taken the baby away from her.
Realising that the baby is no longer worth the trouble, Tom does nothing the next time that it crawls from its pram. However, he and Jerry are forced to react after the baby crawls down to the street and into a 100-story mixed-use skyscraper construction site. The baby crawls from one steel beam to another while the two look on. Jerry manages to catch up, and saves the baby from crawling off a wooden plank lying on the 50th floor by grabbing his diaper. The diaper comes loose, and the baby falls, but he is then caught by Tom. Tom attempts to put the baby's diaper back on, but in the impending confusion, ends up putting the diaper on himself while the baby crawls off, nonchalantly.
Tom and Jerry catch up with the baby, only to lose it again, and fearing that it has crawled into a cement mixer on the 30th floor, the two dive straight in, only to find that the baby never did enter the mixer but instead playing with a hammer. The baby then playfully bonks Tom on the head.
Output: Who gives into the cement mixer, thinking the baby had crawled in?
Passage: The province has a saltwater coastline bordering Hudson Bay and more than 110,000 lakes, covering approximately 15.6 percent or 101,593 square kilometres (39,225 sq mi) of its surface area. Manitoba's major lakes are Lake Manitoba, Lake Winnipegosis, and Lake Winnipeg, the tenth-largest freshwater lake in the world. Some traditional Native lands and boreal forest on Lake Winnipeg's east side are a proposed UNESCO World Heritage Site.Manitoba is at the centre of the Hudson Bay drainage basin, with a high volume of the water draining into Lake Winnipeg and then north down the Nelson River into Hudson Bay. This basin's rivers reach far west to the mountains, far south into the United States, and east into Ontario. Major watercourses include the Red, Assiniboine, Nelson, Winnipeg, Hayes, Whiteshell and Churchill rivers. Most of Manitoba's inhabited south has developed in the prehistoric bed of Glacial Lake Agassiz. This region, particularly the Red River Valley, is flat and fertile; receding glaciers left hilly and rocky areas throughout the province.Baldy Mountain is the province's highest point at 832 metres (2,730 ft) above sea level, and the Hudson Bay coast is the lowest at sea level. Riding Mountain, the Pembina Hills, Sandilands Provincial Forest, and the Canadian Shield are also upland regions. Much of the province's sparsely inhabited north and east lie on the irregular granite Canadian Shield, including Whiteshell, Atikaki, and Nopiming Provincial Parks.Extensive agriculture is found only in the province's southern areas, although there is grain farming in the Carrot Valley Region (near The Pas). The most common agricultural activity is cattle husbandry (34.6%), followed by assorted grains (19.0%) and oilseed (7.9%). Around 12 percent of Canada's farmland is in Manitoba.
Output: What is the name of the province that has a saltwater coastline bordering Hudson Bay?
Passage: The province has a saltwater coastline bordering Hudson Bay and more than 110,000 lakes, covering approximately 15.6 percent or 101,593 square kilometres (39,225 sq mi) of its surface area. Manitoba's major lakes are Lake Manitoba, Lake Winnipegosis, and Lake Winnipeg, the tenth-largest freshwater lake in the world. Some traditional Native lands and boreal forest on Lake Winnipeg's east side are a proposed UNESCO World Heritage Site.Manitoba is at the centre of the Hudson Bay drainage basin, with a high volume of the water draining into Lake Winnipeg and then north down the Nelson River into Hudson Bay. This basin's rivers reach far west to the mountains, far south into the United States, and east into Ontario. Major watercourses include the Red, Assiniboine, Nelson, Winnipeg, Hayes, Whiteshell and Churchill rivers. Most of Manitoba's inhabited south has developed in the prehistoric bed of Glacial Lake Agassiz. This region, particularly the Red River Valley, is flat and fertile; receding glaciers left hilly and rocky areas throughout the province.Baldy Mountain is the province's highest point at 832 metres (2,730 ft) above sea level, and the Hudson Bay coast is the lowest at sea level. Riding Mountain, the Pembina Hills, Sandilands Provincial Forest, and the Canadian Shield are also upland regions. Much of the province's sparsely inhabited north and east lie on the irregular granite Canadian Shield, including Whiteshell, Atikaki, and Nopiming Provincial Parks.Extensive agriculture is found only in the province's southern areas, although there is grain farming in the Carrot Valley Region (near The Pas). The most common agricultural activity is cattle husbandry (34.6%), followed by assorted grains (19.0%) and oilseed (7.9%). Around 12 percent of Canada's farmland is in Manitoba.
Output: What is the name of the province whose highest point is Baldy Mountain?
Passage: The province has a saltwater coastline bordering Hudson Bay and more than 110,000 lakes, covering approximately 15.6 percent or 101,593 square kilometres (39,225 sq mi) of its surface area. Manitoba's major lakes are Lake Manitoba, Lake Winnipegosis, and Lake Winnipeg, the tenth-largest freshwater lake in the world. Some traditional Native lands and boreal forest on Lake Winnipeg's east side are a proposed UNESCO World Heritage Site.Manitoba is at the centre of the Hudson Bay drainage basin, with a high volume of the water draining into Lake Winnipeg and then north down the Nelson River into Hudson Bay. This basin's rivers reach far west to the mountains, far south into the United States, and east into Ontario. Major watercourses include the Red, Assiniboine, Nelson, Winnipeg, Hayes, Whiteshell and Churchill rivers. Most of Manitoba's inhabited south has developed in the prehistoric bed of Glacial Lake Agassiz. This region, particularly the Red River Valley, is flat and fertile; receding glaciers left hilly and rocky areas throughout the province.Baldy Mountain is the province's highest point at 832 metres (2,730 ft) above sea level, and the Hudson Bay coast is the lowest at sea level. Riding Mountain, the Pembina Hills, Sandilands Provincial Forest, and the Canadian Shield are also upland regions. Much of the province's sparsely inhabited north and east lie on the irregular granite Canadian Shield, including Whiteshell, Atikaki, and Nopiming Provincial Parks.Extensive agriculture is found only in the province's southern areas, although there is grain farming in the Carrot Valley Region (near The Pas). The most common agricultural activity is cattle husbandry (34.6%), followed by assorted grains (19.0%) and oilseed (7.9%). Around 12 percent of Canada's farmland is in Manitoba.
Output: What is the name of the province in whose southern areas are found the only extensive agriculture?
Passage: Christmas has always been an exceptional time of love and tradition in the small town of Trapper Falls, Alaska. Hometown of Mayor Dan Reed looks forward to each year with enthusiasm to all the events, friends and family that fill this special season. Together with his brother Greg, they dedicate time away from their adventure tour company to drape the town is Christmas cheer. When Dan's old high school rival Mitch Bright, a mean-spirited and embittered militant atheist returns home after 20 years, Dan is immediately suspicious. Mitch is a highly successful big city lawyer who has never wanted anything to do with Trapper Falls. The rivalry re-ignites when the frustrated Mitch takes offense to what he sees as the town's violation of his rights. Mitch wants the Nativity scene removed from the front of City hall and the word Christmas switched to Happy Holidays on all signs. Fifty years of tradition are now challenged not by an outsider, but a former member of the community. As the conflict escalates, it goes beyond one person's opinion but magnifies into an entire town problem when Mitch enters into the mayoral race to have Dan replaced.
In the heat of the legal battle and facing certain defeat, Dan's wife Kristen and their daughter Makayla, wanting to show what she believes to be the true meaning of Christmas, are inspired to launch a "Christmas with a Capital C" campaign as an effort to keep the town together. In doing so they discover the secret behind Mitch's return: he is looking for love and acceptance, but can't find it in the world of high-flown success.
Output: What's the full name of the man the militant atheist is trying to replace as Mayor?
Passage: In 1932, Christy Brown is born into a family of 15. After his birth, doctors discover he has severe cerebral palsy. Christy is unable to walk or talk, but still receives love and support from his family, especially his mother. One day, Christy's mother trips down the stairs while in labor and Christy was the only person home to see it. He was able to alert some neighbors and summon them over to help. Christy's father, who never believed Christy would amount to anything, starts to become proud after witnessing him use his left foot, the only body part he can fully control, to write the word "mother" on the floor with a piece of chalk.
Consequently, Christy seeks a hobby in painting. The neighborhood youngsters include him in their activities, like street football, but when he paints a picture and gives it to a girl he likes, she returns it. Later, his father loses his job and the family faces exceptionally difficult hardships, so Christy devises a plan to help his brothers steal coal to their mother's dismay. Christy's mother, who had been gradually gathering some savings in a tin in the fireplace, finally saves enough to buy him a wheelchair.
Christy is then introduced to Dr. Eileen Cole, who takes him to her school for cerebral palsy patients and persuades a friend of hers to hold an exhibition of his work. Christy falls in love with Dr. Cole, but when he learns during the dinner that she is engaged to be married, he considers suicide. His mother helps him build a private studio for himself, but soon afterward his father dies of a stroke, and during the wake Christy instigates a brawl. At this point, Christy starts writing his autobiography, My Left Foot. Dr. Cole returns and they resume their friendship. Later on, Christy attends a charity event where he meets his handler, a nurse named Mary Carr. She begins reading his autobiography. He asks Mary to go out with him and they then happily leave the fete together.
Output: What is the full name of the character who leaves the charity event with Christy?
Passage: Many of MOBA's works generate extensive discourse from visitors. Lucy in the Field with Flowers (oil on canvas by Unknown; acquired from trash in Boston) remains a favorite with the news media and patrons.  As the first work acquired by the museum, Lucy is "a painting so powerful it commands its own preservation for posterity", setting a standard by which all future acquisitions would be compared, and causing MOBA's founders to question if Scott Wilson found Lucy or she found him.Kate Swoger of The Montreal Gazette called Lucy a "gorgeous mistake", describing her thus: "an elderly woman dancing in a lush spring field, sagging breasts flopping willy-nilly, as she inexplicably seems to hold a red chair to her behind with one hand and a clutch of daisies in the other". Author Cash Peters, using less florid language, summarized it as "the old woman with an armchair glued to her ass".MOBA's statement about Lucy reads: "The motion, the chair, the sway of her breast, the subtle hues of the sky, the expression on her face—every detail combines to create this transcendent and compelling portrait, every detail cries out 'masterpiece'." The Times recounted comments left by a museum visitor regarding the "endless layers of mysteries" the image offers: "What is Norman Mailer's head doing on an innocent grandma's body, and are those crows or F-16s skimming the hills?"Lucy's granddaughter, a Boston-area nurse named Susan Lawlor, became a fan of MOBA after seeing the portrait in a newspaper. She recognized it as her grandmother, Anna Lally Keane (c. 1890–1968); upon seeing the picture, Lawlor snorted Coca-Cola from her nose in astonishment. The painting was commissioned by her mother, and it hung in her aunt's house for many years, despite the trepidation family members felt at seeing the final composition. Says Lawlor: "The face is hauntingly hers, but everything else is so horribly wrong. It looks like she only has one breast. I'm not sure what happened to her arms and legs, and I don't know where all the flowers and yellow sky came from.".
Output: What is the full name of the person that recognized it as her grandmother, Anna Lally Keane?