Input: Search "Emiliano Malaquez" and you'll find he's a master of the "captured moment" school of sculpture. Even The Terran Times has only praise for his work. To compare his pieces to those of others is to compare mannequins to living models. He accents the illusion of reality --I paraphrase his entry in La Enciclopedia Humanica --by doing life-size scenes in "The full round," never the easier frontal or three-quarters view. Moreover, he never did portraits of famous people; his works were therefore the reality and could never be compared to it. As is typical of his school, his pieces are sealed in stopboxes. The shimmer of light on their surfaces always reminds us that we're looking at an instant snatched from under the hooves of time. They say the cubes will outlast planets and suns, that when the universe dies, the works of Malaquez and his followers will be the last things seen in the final wink of God's eye. Yes, Self, I am also bothered that this observation ignores half-eaten cheese sandwiches, incomplete insect collections, and locks of infants' hair, forgotten in closets, basements, and warehouses. You see the inspiration for my latest play, "Captured Moments." The mindwipe will take its creation from my future self --but time too often does that without aid. The play's second act concludes with the last fight between Tasha and me. I have disguised us in the play, and deleted one brief melodramatic interchange. Now I will mention it, in case I/You decide to restore it. Shortly before she left, Tasha said, "You steal from life for art, Bernardo. You'll impoverish yourself." I only snarled at her and -- My story leaps ahead of itself. Let me retreat and retrench: One night during N'apulco's mild winter, Tasha returned to The Flamingo, saying, "Nardo! Nardo! Guess what?"
"What do Tasha and Bernardo fight about?" is "They fight about who has the bigger part in the play"?

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Output: no

Input: As noted above, the 9/11 plotters spent somewhere between $400,000 and $500,000 to plan and conduct their attack. The available evidence indicates that the 19 operatives were funded by al Qaeda, either through wire transfers or cash provided by KSM, which they carried into the United States or deposited in foreign accounts and accessed from this country. Our investigation has uncovered no credible evidence that any person in the United States gave the hijackers substantial financial assistance. Similarly, we have seen no evidence that any foreign government-or foreign government official-supplied any funding. We have found no evidence that the Hamburg cell members (Atta, Shehhi, Jarrah, and Binalshibh) received funds from al Qaeda before late 1999. It appears they supported themselves. KSM, Binalshibh, and another plot facilitator, Mustafa al Hawsawi, each received money, in some cases perhaps as much as $10,000, to perform their roles in the plot. After the Hamburg recruits joined the 9/11 conspiracy, al Qaeda began giving them money. Our knowledge of the funding during this period, before the operatives entered the United States, remains murky. According to KSM, the Hamburg cell members each received $5,000 to pay for their return to Germany from Afghanistan after they had been selected to join the plot, and they received additional funds for travel from Germany to the United States. Financial transactions of the plotters are discussed in more detail in chapter 7. Requirements for a Successful Attack As some of the core operatives prepared to leave for the United States, al Qaeda's leaders could have reflected on what they needed to be able to do in order to organize and conduct a complex international terrorist operation to inflict catastrophic harm. We believe such a list of requirements would have included leaders able to evaluate, approve, and supervise the planning and direction of the operation; communications sufficient to enable planning and direction of the operatives and those who would be helping them; a personnel system that could recruit candidates, vet them, indoctrinate them, and give them necessary training; an intelligence effort to gather required information and form assessments of enemy strengths and weaknesses; the ability to move people; and the ability to raise and move the necessary money. The information we have presented about the development of the planes operation shows how, by the spring and summer of 2000, al Qaeda was able to meet these requirements. By late May 2000, two operatives assigned to the planes operation were already in the United States. Three of the four Hamburg cell members would soon arrive.

Does the response "By the spring and summer" correctly answer the question "What time in 2000 does al Queada meet the requirements and what chapter can you find more details about financial transactions?"?

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Output: yes

Problem: Madame White Snake: East Asian Femme Fatale of Old The Chinese legend of Madame White Snake, the snake demon that takes human form and becomes the wife of a man, has exerted a lasting influence over East Asian folktales and fiction for centuries. Two quintessential novellas, "The Lust of the White Serpant" from Ugetsu Monogatari by the Japanese author Ueda Akinari and "Eternal Prisoner under Thunder Peak Pagoda" a traditional Chinese story, are both relatively complex and demonstrate not only the evolution of the White Snake figure to become a more believable human, but also what aspects may have given her enduring appeal. While both these stories are ostensibly morality tales about the dangerous beauty of this femme fatale, the true source of pleasure from these narratives is the femme fatale's transgressive behavior, not her eventual punishment for it. Early tales of Madame White Snake appeared in China as early as the Song Dynasty, and initially her portrayal was fairly direct, as a villainous demon who drains the life force out of her human husband. But over time, characterizations of her became more complex, and the persona of Madame White Snake became more sympathetic, and perhaps even a model of the ideal Confucian wife, particularly in "Pagoda". Whalen Lai notes, "She was a loving wife, a caring mother, rescuer of her family from the first flood, and, at that point, a general benefactor of man. She took on the virtues of a traditional Chinese female, particularly forbearance". But if she were really an ideal wife, why could she not live happily with her human mate? Her dangerous sexuality is the key. Femme fatale might seem an unusual term to apply to a character from pre-modern Chinese and Japanese literature who may exemplify the virtues of an ideal Confucian wife, since it is primarily associated with film characters, particularly those of the film noir genre. But this term, which is relatively speaking, a neologism (The earliest uses were around the beginning of the 20th century

Question: "How has the character "Madame White Snake" evolved over time?"

Answer: "The fish demon that takes human form and becomes the wife of a man"

OPTIONS:
- no
- yes
Answer:
no