In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.
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Question: Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (18491928), Benjamin Fox (c. 1865 c. 1900), J. Laurie Wallace (18641953), Jesse Godley (18621889), Harry the dog (Eakins' Irish Setter, c. 188090), George Reynolds (c. 183989), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the workno shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scene d'ete, painted in 1869 by Frederic Bazille (184170). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figuresposed for by a student, a nephew, and the artist's fianceein a pastoral landscape.
Question: What painter possibly influenced Eakins in the painting of The Swimming Hole?

Answer: Frederic Bazille.

Question: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.
Question: What is the first name of the person that received letters in 1632 showing that the man who was a target of musical controversy was still preparing a defence of the seconda practica?

Answer: Giovanni.

Question: Passage: Jack Dempsey starts out fighting in bars for half the take. He wins his first professional fight. After a later bout, he and his manager are held up at gunpoint and robbed of the purse. He sees the thieves later and beats them up to recover the cash. Jack meets Maxine Cates, but goes to New York to box. After a bout with John Lester Johnson is a draw, he breaks with his manager and goes back to Salt Lake City and marries Maxine. After money disputes with her Maxine leaves and Dempsey goes to San Francisco. Kerns becomes his manager. He wins fights goes to New York and divorces Maxine. He beats Jess Willard by a TKO and becomes heavyweight champ. He goes to Hollywood to make films and gets sued for non-support by Maxine. He fights Luis Firpo and is knocked out of the ring, but still wins. He is sick (perhaps poisoned), but still fights Gene Tunney and loses a decision. On September 22, 1927 he fights Tunney again. Dempsey knocks Tunney down, but the count doesn't start until Dempsey goes to a neutral corner. This gives Tunney time to recover and get up when the count reaches 9. In this famous "long count" fight Tunney wins by decision.
Question: What is the last name of the person who marries Maxine?

Answer:
Dempsey.