instruction:
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.
question:
Passage: In 1987, James Brennan plans to have a summer vacation in Europe after graduating with a comparative literature degree from Oberlin College and to attend a journalism graduate school at Columbia University when his holidays end. A few days after his graduation, his parents advise him to seek a part-time job rather than going to Europe when they unexpectedly announce that financial problems have taken a toll on them and they would be unable to financially support him.
James gets a job at Adventureland, a local amusement park in his hometown of Pittsburgh, Pennsylvania, where his childhood friend Tommy Frigo works. Assistant manager Bobby assigns James to the games area. He meets his co-workers: sarcastic Joel; Bobby's wife and park manager Paulette; Sue O'Malley; Mark; the alluring Lisa P.; and the park's technician, Mike Connell, a part-time musician. Another games worker, Emily "Em" Lewin, saves James from being stabbed by a lying, cheating customer.
With her father and stepmother away, Em throws a party and gets to know James. During the conversation, Em persuades James to join her in the house's swimming pool. After Em leaves the pool, James follows only to jump back into the water in humiliation when Frigo announces to the partygoers that he saw James having an erection while leaving the pool. After the party, Connell, who has been having an affair with Em, comes over to further pursue it.
Question: What's the name of the park technician's workplace?
answer:
Adventureland.

question:
Passage: Amos reflects back on his early childhood in then British Mandate of Palestine (now Israel) with his mother Fania and father Arieh. His parents are Eastern European Jews living in Jerusalem, which his mother finds difficult as her sisters and family live in Tel Aviv and communication between them is difficult. Amos, an only child, is particularly close with his mother, who frequently tells him stories based on her childhood that often have unhappy or violent endings.
Amos' parents regularly lend him out to a childless couple they are friends with. On one occasion this couple take him to visit a friend of theirs, a Palestinian Arab. They warn Amos to be quiet and not make much fuss lest he offend their hosts, but while playing with a swing he accidentally injures a child.
On November 29, 1947, Amos' family and others from the neighbourhood gather around a radio in the street to hear the passing of United Nations General Assembly Resolution 181, which adopted a plan to partition Mandatory Palestine into independent Arab and Jewish states. Amos' parents are overwhelmed with joy. Soon afterwards, civil war erupts in Palestine. Amos' father enlists to fight in the 1948 ArabIsraeli War, while Amos and other children are recruited to the war effort. One of his mother's friends is killed while hanging up laundry during the war.
Fania falls into a depression and becomes unable to sleep or eat. Amos and Arieh try their best to hide her depression from their friends and family. After a change in pills Fania abruptly becomes her old more lively self and tries to act normally for her husband and child. A short time later she relapses once more and goes to visit her sisters in Tel Aviv, where she kills herself by overdose.
Amos goes to live on a kibbutz. Reuniting with his father as a teenager, he shows him his new life but admits that despite his attempts at being a strong and healthy farmer he is still a pale and weak intellectual.
Question: Who is Fania with before her death?
answer:
her sisters.

question:
Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener's own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one's own 'truly lived and felt experience' or one's search for intensity in a deeply personal sense".
Question: What is the first name of the person who, with Brown, said that Tchaikovsky's process builds momentum and adds intense drama?
answer:
Hans.