The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. The plain centre of the screen is the work of Remigius, the first bishop. The rest of it is relieved with rich arcading of Late Norman and Early English periods. The wooden spires which crowned the towers were removed in 1807. In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. To him we owe the choir and eastern transept. His successors completed the western transept and began the west end of the nave. So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius. Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height. The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. In its richness of sculpture it is one of the masterpieces of Gothic architecture in England. The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.

Question: "What is the style of the interior cathedral and why is there a problem with the choir?"

OPTIONS:
- no
- yes

Answer: "Classic"

Response: no

(CNN) -- As Iranian President Mahmoud Ahmadinejad visited the U.N. General Assembly in New York last month, the spotlight was once again on Iran. And true to form, the Iranian president made his fair share of provocative statements for the Western media. But while Ahmadinejad's mercurial rants captured our media's attention, back in Iran a coordinated strategy against the women's movement continued. On the eve of Ahmadinejad's arrival to New York, Shiva Nazar Ahari, a prominent young female defender of human rights, received a heavy sentence of six years in prison on charges including the vague crime of "waging war against God" -- a convenient catch-all offense for anyone who criticizes the regime and its human rights record. There's no denying it -- Iran's women have had a bad year. Nazar Ahari joins a steadily increasing number of other women's rights activists who are in prison for no greater crime than their attempt to fight for the rights of the women. Hengameh Shahidi, Alieh Eghdam Doust, Bahareh Hedayat and Mahdiyeh Golrou have all been sent to Tehran's notorious Evin Prison on trumped-up charges related to their activism. And while Nobel Peace Prize laureate Shirin Ebadi, arguably the most internationally recognized Iranian women's rights activist, remains unable to safely return to her country, the government is targeting those affiliated with her for arrest and imprisonment, including her lawyer Nasrin Sotoudeh and her former aide Jinous Sobhani. Since the 2009 disputed elections and associated government crackdown on the overall reform movement, the government has increasingly targeted women activists. The reasons behind this go well beyond the misogynist nature of Iran's religious leadership. Rather, it is more part of a deliberate and calculated strategy of the Iranian authorities to strike at the heart of the regime's greatest vulnerability -- internal legitimacy with its own people. See more CNN.com opinion articles Iran's government recognizes and fears the broader power of the women activists who have been on the front line of reform in Iran for more than a decade. One can roughly draw an analogy between the women's movement in Iran to movements of religious groups in Burma or Tibet, or the labor "solidarity" movements in the former Eastern bloc and associated labor-Roman Catholic solidarity in Poland -- all advocating initially for the freedoms of a specific group but which provoked government fears for their transformative power to promote broader human rights progress. While the outside world occasionally reacts to the most egregious manifestations of Iran's repression of women -- such as the international condemnation associated with Sakineh Mohammadi Ashtiani, an Iranian widow sentenced to stoning on charges of alleged adultery -- these events are often portrayed simply as a consequence of the regime's archaic viewpoint about gender.

Question: "What is the reason that the Iranian government has increasingly targeted the reform movement of women activists since 2009?"

Response: "CNN.com opinion articles"
OPTIONS:
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- yes

A: no

Problem: Literary career During the war Camus joined the French Resistance cell Combat, which published an underground newspaper of the same name. This group worked against the Nazis, and in it Camus assumed the nom de guerre Beauchard. Camus became the paper's editor in 1943. He first met Sartre at the dress rehearsal of Sartre's play, The Flies, in June 1943. When the Ailies liberated Paris in August 1944, Camus witnessed and reported the last of the fighting. Soon after the event on 6 August 1945, he was one of the few French editors to publicly express opposition and disgust to the United States' dropping the atomic bomb in Hiroshima. He resigned from Combat in 1947 when it became a commercial paper. After the war, Camus began frequenting the Cafe de Flore on the Boulevard Saint-Germain in Paris with Sartre and others. He also toured the United States to lecture about French thought. Although he leaned left, politically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually alienated Sartre. In 1949, his tuberculosis returned, whereupon he lived in seclusion for two years. In 1951, he published The Rebel, a philosophical analysis of rebellion and revolution which expressed his rejection of communism. Upsetting many of his colleagues and contemporaries in France, the book brought about the final split with Sartre. The dour reception depressed Camus; he began to translate plays. Camus's first significant contribution to philosophy was his idea of the absurd. He saw it as the result of our desire for clarity and meaning within a world and condition that offers neither, which he expressed in The Myth of Sisyphus and incorporated into many of his other works, such as The Stranger and The Plague. Despite his split from his "study partner", Sartre, Camus was still categorized as an Existentialist. He specifically rejected that label in his essay "Enigma" and elsewhere.

Question: "Whom did Camus meet at the dress rehearsal?"

Answer: "Kafka"

OPTIONS:
- no
- yes
Answer: no

For thousands of years, people have found fossils. The fossils caused curiosity about Earths past. How did these organisms live? What type of world did they live in? Fossils can tell us a lot about Earths history. In ancient times, fossils inspired myths and stories. These stories included tales of monsters and other incredible creatures. What type of creature do you know that could inspire such stories? Of course, dinosaur fossils were once mistaken for dragons bones. Two thousand years ago, people discovered fossils in China. At the time, they were thought to be dragon bones. We know now that these were not bones, but fossils. So what is the difference?

Question: "In ancient times what impact did fossils have on humans?"

OPTIONS:
- no
- yes

Answer: "They inspired lots of stories"

Response:
yes