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.

Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, nee Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F minor (190304), a Symphony in E major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Leon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 190910, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the DiaghilevStravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.
Question: What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?
Igor Stravinsky.

Passage: Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle epoque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state are usually entertained by the Queen at Buckingham Palace. They are allocated a large suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the north-facing Garden Wing. The rooms of the suite are linked by narrow corridors, one of them is given extra height and perspective by saucer domes designed by Nash in the style of Soane. A second corridor in the suite has Gothic-influenced cross-over vaulting. The Belgian Rooms themselves were decorated in their present style and named after Prince Albert's uncle Leopold I, first King of the Belgians. In 1936, the suite briefly became the private apartments of the palace when they were occupied by King Edward VIII.
Question: What has nodding mandarins in niches and fearsome winged dragons?
a chimney piece.

Passage: Peter Loew is a driven literary agent and an example of the stereotypical narcissistic and greedy yuppie of the 1980s: he works all day and club hops at night, with little in his life but alcohol, one night stands and the pursuit of money and prestige. However, he is slowly going insane and sees a therapist frequently; it is during these sessions that his declining mental health becomes clear through a series of increasingly bizarre rants which eventually begin to scare even the psychiatrist. After he takes home a girl he met in a club named Jackie, a bat flies in through his window, scaring them both. At his next session he mentions to his therapist that the struggle with the bat aroused him, and after visiting an art museum with Jackie the next day, he ditches her, and she leaves an angry message on his phone.
Loew meets Rachel at a night club, and takes her home. She pins him down, reveals vampire fangs and feeds on him. He soon begins to believe that he is changing into a vampire. He stares into a bathroom mirror and fails to see his reflection, he wears dark sunglasses during the day, and, when his "fangs" fail to develop, he purchases a pair of cheap plastic vampire teeth. All the while, Rachel visits him nightly to feed on his blood. Shortly after, Loew experiences mood swings and calls Jackie back apologetically, asking to meet her at a bar. As he is about to leave, a jealous Rachel appears and beckons him back inside. A dejected Jackie eventually leaves the bar and leaves an angry note on his door asking him to leave her alone.
Question: What is the full name of the person who has a bat fly through their window?
Peter Loew.