Problem: The hijackers attacked at 9:28. While traveling 35,000 feet above eastern Ohio, United 93 suddenly dropped 700 feet. Eleven seconds into the descent, the FAA's air traffic control center in Cleveland received the first of two radio transmissions from the aircraft. During the first broadcast, the captain or first officer could be heard declaring "Mayday" amid the sounds of a physical struggle in the cockpit. The second radio transmission, 35 seconds later, indicated that the fight was continuing. The captain or first officer could be heard shouting:" Hey get out of here-get out of here-get out of here." On the morning of 9/11, there were only 37 passengers on United 93-33 in addition to the 4 hijackers. This was below the norm for Tuesday mornings during the summer of 2001. But there is no evidence that the hijackers manipulated passenger levels or purchased additional seats to facilitate their operation. The terrorists who hijacked three other commercial flights on 9/11 operated in five-man teams. They initiated their cockpit takeover within 30 minutes of takeoff. On Flight 93, however, the takeover took place 46 minutes after takeoff and there were only four hijackers. The operative likely intended to round out the team for this flight, Mohamed al Kahtani, had been refused entry by a suspicious immigration inspector at Florida's Orlando International Airport in August. Because several passengers on United 93 described three hijackers on the plane, not four, some have wondered whether one of the hijackers had been able to use the cockpit jump seat from the outset of the flight. FAA rules allow use of this seat by documented and approved individuals, usually air carrier or FAA personnel. We have found no evidence indicating that one of the hijackers, or anyone else, sat there on this flight. All the hijackers had assigned seats in first class, and they seem to have used them. We believe it is more likely that Jarrah, the crucial pilot-trained member of their team, remained seated and inconspicuous until after the cockpit was seized; and once inside, he would not have been visible to the passengers.

Question: "Jarrah remained seated where during the takeover?"

Answer: "the cockpit"
Answer: no

Problem: Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Question: "What three specific types of work earned Durer a good reputation?"

Answer: "Engraving"
Answer: yes

Problem: "Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not".

Question: "Who is the her in "Toyoo, her human lover"?"

Answer: "Christine Gledhill"
Answer:
no