Problem: The Golden Heian Era: The geomancers in 794 decided that Heian-kyo (modern Kyoto) would be an auspicious site for the imperial family. It was indeeduntil 1869. Grants of tax-free land over the years had been made to Buddhist temples and members of the court aristocracy. The most powerful families thus carved out for themselves whole regions that were to become the fiefdoms of Japanese feudalism. By the end of the eighth century the clans had created a hierarchy of shiki, or rights, from the highest to the lowest ranks of society. The aristocrat or court patron lent his prestige to a powerful provincial proprietor, who employed a competent estate-manager to oversee smallholders, who in turn worked their farms with dependent laborers. This elaborate structure of interdependent rights and obligations was to serve Japanese society right into the 20th century. Meanwhile, Heian court life blossomed in an effusion of aesthetic expression. Princes and princesses judged the merits of birds, insects, flowers, roots, or seashells. Literary party games held in ornate palace gardens required each guest to compose a small poem as his wine cup floated toward him along a miniature winding channel of water. Expeditions were organized to the best viewing points for the first spring cherry blossoms, and special pavilions were built to watch the rising of the full moon. Every gesture, from the most banal opening of an umbrella to the sublimest act of lovemaking, had its appropriate ceremonial. Conversation often took the form of elegant exchanges of improvised verse. The changing role of Chinese culture in Japanese life was epitomized in the language itself. In the absence of an indigenous alphabet, Japanese scholars had with the greatest difficulty tried to adapt the complex ideograms of monosyllabic Chinese to the essentially polysyllabic Japanese. Thus developed the katakana system used as a vehicle for writing Buddhist names and concepts. After rival Fujiwara factions had been struggling for years to gain control of the imperial throne, they turned to the Taira and Minamoto armies in 1156 to wage the four-year war that heralded the end of the golden age of the Heian court. The Taira, controlling the region along the Inland Sea, defeated the Minamoto armies based in the Kanto province east of the capital.

Question: "The changing in Chinese culture in Japanese life eventually had what written language develop?"

Answer: "Heian-kyo"
Answer: no

Problem: Mr. Neville ( ( ( Anthony Higgins , a young and arrogant artist and something of a Byronic hero , is contracted to produce a series of 12 landscape drawings of an estate by Mrs. Virginia Herbert for her absent and estranged husband . Part of the contract is that Mrs. Herbert agrees '' to meet Mr. Neville in private and to comply with his requests concerning his pleasure with me . '' Several sexual encounters between them follow , each of them acted in such a way as to emphasise reluctance or distress on the part of Mrs Herbert and sexual aggression or insensitivity on the part of Mr Neville . Meanwhile , whilst living on the estate , Mr. Neville gains quite a reputation with its dwellers , especially with Mrs. Herbert's son-in-law , Mr. Talmann . Mrs. Herbert , wearied of meeting Mr. Neville for his pleasure , tries to terminate the contract before all of the drawings are completed and orders Mr. Neville to stop . But he refuses to void the contract and continues as before . Then Mrs. Herbert's married , but as yet childless , daughter , Mrs. Talmann , who has apparently become attracted to Mr. Neville , seems to blackmail him into making a second contract in Which he agrees to comply with what is described as her pleasure , rather than his a reversal of the position in regard to her mother . A number of curious objects appear in Neville's drawings , Which point ultimately to the murder of Mr. Herbert , whose body is discovered in the moat of the house . Mr. Neville completes his twelve drawings and leaves the house .

Question: "Does Mrs. Herbert enjoy her sexual encounters with Mr. Neville?"

Answer: "Yes, very much"
Answer: no

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: "What works are about Madame White Snake?"

Answer: "Femme and Eternal Prisoner"
Answer:
no