TASK DEFINITION: In this task, you will be presented with a context passage, a question about that paragraph, and a possible answer to that question. The task is to check the validity of the answer. Answer with "Yes" or "No".
PROBLEM: As for engravings, Durer's work was restricted to portraits and illustrations for his treatise. The portraits include Cardinal-Elector Albert of Mainz; Frederick the Wise, elector of Saxony; the humanist scholar Willibald Pirckheimer; Philipp Melanchthon, and Erasmus of Rotterdam. For those of the Cardinal, Melanchthon, and Durer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Durer depicted the sitters in profile, perhaps reflecting a more mathematical approach. Despite complaining of his lack of a formal classical education, Durer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and correspondence with Erasmus and other scholars. Durer succeeded in producing two books during his lifetime. "The Four Books on Measurement" were published at Nuremberg in 1525 and was the first book for adults on mathematics in German, as well as being cited later by Galileo and Kepler. The other, a work on city fortifications, was published in 1527. "The Four Books on Human Proportion" were published posthumously, shortly after his death in 1528. <sep>Whom did Durer both draw a porter of and consult with?<sep>Willibald Pirckheimer

SOLUTION: Yes

PROBLEM: The day was just breaking, as I left the tower; though it was still too dark in the house to be able to see without a light, and I took one of the study candles with me on my 'round. By the time I had finished the ground floor, the daylight was creeping in, wanly, through the barred windows. My search had shown me nothing fresh. Everything appeared to be in order, and I was on the point of extinguishing my candle, when the thought suggested itself to me to have another glance 'round the cellars. I had not, if I remember rightly, been into them since my hasty search on the evening of the attack. For, perhaps, the half of a minute, I hesitated. I would have been very willing to forego the task--as, indeed, I am inclined to think any man well might--for of all the great, awe-inspiring rooms in this house, the cellars are the hugest and weirdest. Great, gloomy caverns of places, unlit by any ray of daylight. Yet, I would not shirk the work. I felt that to do so would smack of sheer cowardice. Besides, as I reassured myself, the cellars were really the most unlikely places in which to come across anything dangerous; considering that they can be entered, only through a heavy oaken door, the key of which, I carry always on my person. <sep>When did the person consider extinguishing the candle?<sep>Found nothing

SOLUTION: Yes

PROBLEM: When the Algerian War began in 1954, Camus was confronted with a moral dilemma. He identified with the pieds-noirs such as his own parents and defended the French government's actions against the revolt. He argued that the Algerian uprising was an integral part of the 'new Arab imperialism' led by Egypt and an 'anti-Western' offensive orchestrated by Russia to 'encircle Europe' and 'isolate the United States'. Although favouring greater Algerian autonomy or even federation, though not full-scale independence, he believed that the pieds-noirs and Arabs could co-exist. During the war he advocated a civil truce that would spare the civilians, which was rejected by both sides, who regarded it as foolish. Behind the scenes, he began to work for imprisoned Algerians who faced the death penalty. From 1955 to 1956, Camus wrote for L'Express. In 1957, he was awarded the Nobel Prize in literature "for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times". When he spoke to students at the University of Stockholm, he defended his apparent inactivity in the Algerian question; he stated that he was worried about what might happen to his mother, who still lived in Algeria. This led to further ostracism by French left-wing intellectuals. Camus remained active and ambitious until the end of his life. Financed by the money he received with his Nobel Prize, he adapted and directed for the stage Dostoyesvsky's Demons. The play opened in January 1959 at the Antoine Theatre in Paris. It was a critical success as well as an artistic and technical tour de force: 33 actors, 4 hours long, 7 sets, 24 scenes. The walls could move sideways to reduce the size of each depicted location and the whole stage rotated to allow for immediate set transformations. Camus put the painter and set decorator Mayo, who had already illustrated several of Camus' novels (The Stranger - 1948 Ed.), in charge of the demanding task of designing these multiple and complex theater sets. <sep>How many scenes are portrayed in Dostoyesvsky's Demons?<sep>7

SOLUTION:
No