TASK DEFINITION: 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.
PROBLEM: Passage: Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in 1810. Yet in 1816, he sought to distance himself from Prussian authority and applied that June for Saxon citizenship. The move was not expected; the Saxon government was pro-French, while Friedrich's paintings were seen as generally patriotic and distinctly anti-French. Nevertheless, with the aid of his Dresden-based friend Graf Vitzthum von Eckstadt, Friedrich attained citizenship, and in 1818, membership in the Saxon Academy with a yearly dividend of 150 thalers. Although he had hoped to receive a full professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students." Politics too may have played a role in stalling his career: Friedrich's decidedly Germanic subjects and costuming frequently clashed with the era's prevailing pro-French attitudes.

SOLUTION: What is the first name of the man that the Dresden-based person helped attain membership into the Saxon Academy?

PROBLEM: Passage: In 188587 the partnership designed Abbeystead House for the 4th Earl of Sefton in North Lancashire. Hubbard describes this as "the finest of Douglas's Elizabethan houses, and one of the largest which he ever designed". During this time additions were made to Jodrell Hall in Cheshire and Halkyn Castle in Flintshire. In 1885 the Castle Hotel at Conwy, Caernarfonshire, was remodelled, and in 188788 a strongroom was added to Hawarden Castle, followed by a porch in 1890. During this period more buildings were added to the Eaton Hall estate, and these included houses and cottages, such as Eccleston Hill, and Eccleston Ferry House, and farms such as Saighton Lane Farm. In 189091 an obelisk was built in the Belgrave Avenue approach to Eaton Hall. The last house designed by Douglas on a large scale was Brocksford Hall (1893) in Derbyshire. This was a country house in Elizabethan style using diapered brick and stone dressings with a clock tower. In Chester city centre, 38 Bridge Street (1897) is a timber-framed shop that incorporates a section of Chester Rows and contains heavily decorated carving. From 1892 the partnership designed houses and cottages in Port Sunlight for Lever Brothers. Also in the village they designed the Dell Bridge (1894), and the school (189496), which is now called the Lyceum. In 1896 Douglas designed a house for himself, Walmoor Hill in Dee Banks, Chester, in Elizabethan style. Between 1895 and 1897 he designed a range of buildings on the east side of St Werburgh Street in the centre of Chester. At its south end, on the corner of Eastgate Street, is a bank whose ground storey is built in stone, and behind this leading up St Werburgh Street, the ground storey consists of shop fronts. Above this the range consists of two storeys plus an attic, which are covered in highly ornamented timber-framing. On the first floor is a series of oriel windows, the second floor is jettied, and at the top are eleven gables. Pevsner considers that this range of buildings is "Douglas at his best (though also at his showiest)". Hubbard expresses the opinion that "in this work, the city's half-timber revival reached its very apogee".

SOLUTION: What was the name of the street that Douglas had created his showiest buildings?

PROBLEM: Passage: Hachijo-daiko (, trans. "Hachijo-style taiko") is a taiko tradition originating on the island of Hachijo-jima. Two styles of Hachijo-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijo-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijo-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one.
The first style of Hachijo-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byoshi (, "lower beat"), provides the underlying beat. The other player, called the uwa-byoshi (, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijo-daiko is called shin-daiko (, "new taiko"), which differs from Kumaoji-daiko in multiple ways. For instance, while the lead and accompanying roles are still present, shin-daiko performances use larger drums exclusively on stands. Shin-daiko emphasizes a more powerful sound, and consequently, performers use larger bachi made out of stronger wood. Looser clothing is worn by shin-daiko performers compared to kimono worn by Kumaoji-daiko performers; the looser clothing in shin-daiko allow performers to adopt more open stances and larger movements with the legs and arms. Rhythms used for the accompanying shita-byoshi role can also differ. One type of rhythm, called yukichi, consists of the following:
This rhythm is found in both styles, but is always played faster in shin-daiko. Another type of rhythm, called honbadaki, is unique to shin-daiko and also contains a song which is performed in standard Japanese.

SOLUTION:
What is the full name of the creator of the style that is thought to be the first to descend from the one reported in a journal in 1849?