In this task, you are given a question and a context passage. You have to answer the question based on the given passage.

Ex Input:
What kind of dogs usually have docked tails?, Context: There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. As with many canids, one of the primary functions of a dog's tail is to communicate their emotional state, which can be important in getting along with others. In some hunting dogs, however, the tail is traditionally docked to avoid injuries. In some breeds, such as the Braque du Bourbonnais, puppies can be born with a short tail or no tail at all.

Ex Output:
hunting


Ex Input:
What distinct theme do metaphors contain from a piece of writing or conversation?, Context: The term heresy is also used as an ideological pigeonhole for contemporary writers because, by definition, heresy depends on contrasts with an established orthodoxy. For example, the tongue-in-cheek contemporary usage of heresy, such as to categorize a "Wall Street heresy" a "Democratic heresy" or a "Republican heresy," are metaphors that invariably retain a subtext that links orthodoxies in geology or biology or any other field to religion. These expanded metaphoric senses allude to both the difference between the person's views and the mainstream and the boldness of such a person in propounding these views.

Ex Output:
subtext


Ex Input:
Which was painted later, Amorpha-Fugue a deux couleurs or Contrasts of Forms?, Context: The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

Ex Output:

Contrasts of Forms


