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.
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Question: Passage: In mid-1920s Copenhagen, portrait artist Gerda Wegener asks her husband, popular landscape artist Einar Wegener, to stand in for a female model who is late to come to their flat to pose for a painting she's working on.
The act of posing as a female figure unmasks Einar's life-long identification as a woman, who names herself Lili Elbe. This sets off a progression, first tentative and then irreversible, of leaving behind the identity as Einar, which she has struggled to maintain all her life. This takes place as both Lili and Gerda relocate to Paris; Gerda's portraits of Lili in her feminine state attract serious attention from art dealers in a way that her previous portraiture had not. It is there that Gerda tracks down art dealer Hans Axgil, a childhood friend of Lili (whom Lili had kissed when they were young). Hans and Gerda's mutual attraction is a challenge, as Gerda is navigating her changing relationship to Lili; but Hans' long-time friendship with and affection for Lili cause him to be supportive of both Lili and Gerda.
As Lili's continued existence presenting as male becomes too much to bear, she starts to seek help from psychologists, but none yields any result, and, in one instance, almost leads her into being committed to an asylum. Eventually, at Hans's recommendation, Lili and Gerda meet Dr. Kurt Warnekros. Dr. Warnekros explains that he has met several people like her, who are physically male but identify as female, and proposes a new, innovative and controversial solution: male to female sex reassignment surgery. This would entail a two-part procedure that involves first removing Lili's external genitalia and then, after a period of recovery, fashioning a vagina. He warns Lili and Gerda that it is a very dangerous operation that has never been attempted before, and Lili would be one of the first to undergo it. Lili immediately agrees and, soon after, travels to Germany to begin the surgery.

Answer: What is the full name of the character whose husband names herself Lili Elbe?

Question: Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.

Answer: Who thinks that business comes first?

Question: Passage: Despite the positive reception accorded to L'Arianna at its premiere, the duke did not request a second showing, as he had with L'Orfeo the previous year". The next hint of a performance of L'Arianna is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the celebration for the Duchess Caterina's birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of L'Arianna.There is some evidence to suggest a possible performance in Dubrovnik, in or some time after 1620; a Croatian translation of the libretto was published in Ancona in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new Teatro San Cassiano opened with a performance of L'Andromeda by Francesco Manelli. The popularity of this and other works led to more theatres converting their facilities for opera; L'Arianna was chosen to inaugurate the Teatro San Moise as an opera house during the 163940 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at St Mark's Basilica since 1613. The dedication in the revised and republished libretto describes him as "[the] most celebrated Apollo of the century and the highest intelligence of the heavens of humanity". The opera was received with great enthusiasm by a Venetian audience already familiar with the lament, which had been published in the city in 1623. Within a few weeks the theatre replaced L'Arianna with Monteverdi's new opera Il ritorno d'Ulisse in patria, which proved an even greater success.

Answer:
What is the name of the person who would have revised L'Arianna more thoroughly had he more time?