Input: Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."

Does the response "Durer" correctly answer the question "Which artist, in addition to Alberti, did Durer disagree with?"?

OPTIONS:
- no
- yes
***
Output: no

Madame White Snake: East Asian Femme Fatale of Old The Chinese legend of Madame White Snake, the snake demon that takes human form and becomes the wife of a man, has exerted a lasting influence over East Asian folktales and fiction for centuries. Two quintessential novellas, "The Lust of the White Serpant" from Ugetsu Monogatari by the Japanese author Ueda Akinari and "Eternal Prisoner under Thunder Peak Pagoda" a traditional Chinese story, are both relatively complex and demonstrate not only the evolution of the White Snake figure to become a more believable human, but also what aspects may have given her enduring appeal. While both these stories are ostensibly morality tales about the dangerous beauty of this femme fatale, the true source of pleasure from these narratives is the femme fatale's transgressive behavior, not her eventual punishment for it. Early tales of Madame White Snake appeared in China as early as the Song Dynasty, and initially her portrayal was fairly direct, as a villainous demon who drains the life force out of her human husband. But over time, characterizations of her became more complex, and the persona of Madame White Snake became more sympathetic, and perhaps even a model of the ideal Confucian wife, particularly in "Pagoda". Whalen Lai notes, "She was a loving wife, a caring mother, rescuer of her family from the first flood, and, at that point, a general benefactor of man. She took on the virtues of a traditional Chinese female, particularly forbearance". But if she were really an ideal wife, why could she not live happily with her human mate? Her dangerous sexuality is the key. Femme fatale might seem an unusual term to apply to a character from pre-modern Chinese and Japanese literature who may exemplify the virtues of an ideal Confucian wife, since it is primarily associated with film characters, particularly those of the film noir genre. But this term, which is relatively speaking, a neologism (The earliest uses were around the beginning of the 20th century

Question: "Around what time was the term Femme Fatale begun to be used?"

OPTIONS:
- no
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Answer: "Around the 20th Century"

Response: yes

The protagonist Preetam ( ( ( Ganesh , on a visit to Eva Mall amidst a heavy wind , spots a pretty girl , Nandini . While staring at her , he inadvertently falls into a manhole . Nandini rescues him from the pit , but in the process loses her heart-shaped watch she had just bought . While accompanying his mother to Madikeri , Preetam confronts a man named Jaanu . Jaanu , who has been following Nandini , beats up Preetam thinking that he is in love with Nandini . Preetam , unaware that Jaanu has vowed not to allow any one near Nandini , trashes Jaanu and his gang in return . In Madikeri , Preetam meets Nandini unexpectedly . He identifies himself and expresses his love towards her and offers to tie the watch as an indication for their marriage . Nandini , who is already engaged rejects his request . Still , Preetam vows to marry Nandini if she meets him again . In the meantime , Preetam discovers that his host in Madikeri , Col. Subbayya is Nandini's father , who is pretty much deaf , and Nandini's marriage is a just a week away . Dejected , Preetam throws Nandini's heart-shaped watch away . But Nandini calls him over the phone and taunts him to return . Delighted , Preetam goes in search of her watch and brings it back . While searching it , he spots a rabbit , Which he calls Devadas , and brings it along with him . Since Nandini's friends are due to arrive from Mumbai for the marriage , Preetam takes Nandini to the railway station . The train from Mumbai is delayed by five hours , so Nandini and Preetam decide to visit a nearby hill-temple .

Question: "What does Preetam take with him to the train station?"

Response: "The friends"
OPTIONS:
- no
- yes

A:
no