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.

[EX Q]: Passage: In the late 1830s, when much of the Old West was still Mexican territory, four people are traveling through the deserts, north of Texas and a three-day ride from Santa Fe.
One the Scalphunter, who says his trade is being a "buffaler" (buffalo hide trader). He is in search of gold. The others are a former ship Captain, also in search of the gold; the Woman from England, a former chambermaid who, in exchange for ship's passage to America, has signed an agreement to serve the Captain for five years as an indentured servant; and Mr. Rainbow, a former soldier who killed Indians.
The Captain sets out to find some of Montezuma's gold, risking danger from both the Native Indians and Mexican soldiers. The woman wants to get out of her contract with the Captain and go to New Orleans. She asks Mr. Rainbow to take her there, but he turns her down.
The Scalphunter wants half of the Captain's gold, and tags along with his men. Mr. Rainbow sets out across the desert through the Viaje de la Muerte, the Journey of Death.
[EX A]: What does the nickname for the trade of the man searching for gold actually refer to?

[EX Q]: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.
[EX A]: What is the name of the person that never published a response, Seconda Pratica?

[EX Q]: Passage: Helen and Jackson live together in New York City. At the beginning of the film, the two are driving towards the Kentucky farmhouse, Kilronan, where Jackson grew up, primarily to introduce Helen to Jackson's mother, Martha.
After returning to New York, Helen discovers she is pregnant. When she informs Jackson of this, he asks her to marry him and she accepts. The wedding is held at Kilronan, where Helen meets Jackson's paternal grandmother, Alice, who tells Helen she doesn't trust Martha.
After returning to New York apartment, Helen is assaulted by a man who steals her locket. When Helen says she's pregnant, he cuts her abdomen and leaves. The fetus was not injured.
Martha arrives and says she wants to sell Kilronan because she cannot run it alone. Helen tells Jackson she wants to move to Kentucky and in with Martha for a year and help renovate the land. Jackson tells Helen his father died in that house when he was seven and he blames himself because he ran into his father pushing him down the stairs. Jackson also tells Helen that his father had been cheating on Martha with Robin Hayes. Helen says they should go back so Jackson can face his "old ghosts".
The couple move in with Martha who attempts to divide the couple. Suspicious, Helen talks to Alice who tells her that Jackson is wrong about his father's death. The father landed on a nail puller at the bottom of the stairs, crushing his sternum, which, according to news reports was a freak accident.
Helen tells Jackson that Martha is tearing their marriage apart. He agrees to go back to New York and tells his mother.
That evening, Martha bakes a cake for Helen laced with pitocin, a labor inducer. Helen wakes up the next morning, feeling strange. She discovers a baby room set up by Martha and finds the locket that was stolen from her in New York. When Martha unexpectedly enters the room, Helen tries unsuccessfully to escape.
[EX A]:
What is the name of the person who blames himself for his father's death?