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".

[EX Q]: "Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsü into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not". <sep>In this passage, "Femme" is referring to what kind of woman?<sep>Bewitching beauty
[EX A]: Yes

[EX Q]: Einstein was displeased with quantum theory and mechanics (the very theory he helped create), despite its acceptance by other physicists, stating that God "is not playing at dice." Einstein continued to maintain his disbelief in the theory, and attempted unsuccessfully to disprove it until he died at the age of 76. In 1917, at the height of his work on relativity, Einstein published an article in Physikalische Zeitschrift that proposed the possibility of stimulated emission, the physical process that makes possible the maser and the laser. This article showed that the statistics of absorption and emission of light would only be consistent with Planck's distribution law if the emission of light into a mode with n photons would be enhanced statistically compared to the emission of light into an empty mode. This paper was enormously influential in the later development of quantum mechanics, because it was the first paper to show that the statistics of atomic transitions had simple laws. Einstein discovered Louis de Broglie's work, and supported his ideas, which were received skeptically at first. In another major paper from this era, Einstein gave a wave equation for de Broglie waves, which Einstein suggested was the Hamilton-Jacobi equation of mechanics. This paper would inspire Schrodinger's work of 1926. <sep>Would Einstein live to disprove the theory he had a role in developing?<sep>Yes
[EX A]: No

[EX Q]: 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
[EX A]:
No

