input: In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Abo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company can't be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s.

Answer this question "Did most women attend college?"
output: in 1915, girls and boys started to receive the same education in the school system,

Problem: Background: Manisha Koirala (born 16 August 1970) is a Nepali actress who mainly appears in Hindi films in India, though she has worked in several South Indian and her native country's films. Noted for her acting prowess, Koirala is the recipient of several accolades, including four Filmfare Awards--and is one of India's most well-known actresses. Although the box-office collections from her films have varied considerably, critics have noted that her niche as an actor remains unharmed irrespective of her commercial potency. She was one of the highest paid actresses in the 1990s.
Context: After receiving a diploma in filmmaking, she produced the small-budget caper-comedy Paisa Vasool (2004), in which she starred along with Sushmita Sen; this was probably the first ever chick-flick in Indian cinema in that it did not have a male lead nor a love story. Since then, she has played supporting and leading roles in various unsuccessful films, some of which being well received by critics, such as the historical epic drama Taj Mahal: An Eternal Love Story (2005), the thriller Tum - A Dangerous Obsession (2005), and the horror film Anjaane - The Unknown (2005). In Anwar, she played a supporting role along with her brother Siddharth, her only release in 2007. In 2008, she made her comeback to films, with her first leading role since Mumbai Express (2005), in Tulsi, opposite Irrfan Khan. Although before release, her comeback was described by the media as "shocking", and the film suffered from poor marketing, her performance as Tulsi, a young homemaker diagnosed with leukemia, was well received. Taran Adarsh from IndiaFM wrote: "Manisha Koirala sinks her teeth in this role and delivers a fine performance." She next starred in Sirf (2008). The film was released without any notice or publicity and was a critical and box office failure. Her first Bengali film Khela, directed by Rituparno Ghosh, released the same year, along with the long delayed Hindi film Mehbooba, both films released on the same day. In December 2009, she served as a Jury member in the fifth edition of the Dubai International Film Festival.
Question: Did Manisha Koirala encounter any career problems in 2004?
Answer: she has played supporting and leading roles in various unsuccessful films,

Question: Bruno Latour (French: [latuR]; born 22 June 1947) is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies (STS). After teaching at the Ecole des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006-2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.

Latour's work Nous n'avons jamais ete modernes : Essais d'anthropologie symetrique was first published in French in 1991, and then in English in 1993 as We Have Never Been Modern. Latour encouraged the reader of this anthropology of science to re-think and re-evaluate our mental landscape. He evaluated the work of scientists and contemplated the contribution of the scientific method to knowledge and work, blurring the distinction across various fields and disciplines. Latour argued that society has never really been modern and promoted nonmodernism (or amodernism) over postmodernism, modernism, or antimodernism. His stance was that we have never been modern and minor divisions alone separate Westerners now from other collectives. Latour viewed modernism as an era that believed it had annulled the entire past in its wake. He presented the antimodern reaction as defending such entities as spirit, rationality, liberty, society, God, or even the past. Postmoderns, according to Latour, also accepted the modernistic abstractions as if they were real. In contrast, the nonmodern approach reestablished symmetry between science and technology on the one hand and society on the other. Latour also referred to the impossibility of returning to premodernism because it precluded the large scale experimentation which was a benefit of modernism. Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato. He refused the concept of "out there" versus "in here". He rendered the object/subject distinction as simply unusable and charted a new approach towards knowledge, work, and circulating reference. Latour considered nonmoderns to be playing on a different field, one vastly different than that of post-moderns. He referred to it as much broader and much less polemical, a creation of an unknown territory, which he playfully referred to as the Middle Kingdom. In 1998, historian of science Margaret C. Jacob argued that Latour's politicized account of the development of modernism in the 17th century is "a fanciful escape from modern Western history".

Using a quote from the above article, answer the following question: What was his definition of modern?
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Answer:
Latour viewed modernism as an era that believed it had annulled the entire past in its wake.