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: Before dawn on September 13, 1964, the ruling military junta of South Vietnam, led by General Nguyễn Khánh, was threatened by a coup attempt headed by Generals Lâm Văn Phát and Dương Văn Đức, who sent dissident units into the capital Saigon. They captured various key points and announced over national radio the overthrow of the incumbent regime. With the help of the Americans, Khánh was able to rally support and the coup collapsed the next morning without any casualties.
In the immediate month leading up the coup, Khánh's leadership had become increasingly troubled. He had tried to augment his powers by declaring a state of emergency, but this only provoked large-scale protests and riots calling for an end to military rule, with Buddhist activists at the forefront. Fearful of losing power, Khánh began making concessions to the protesters and promised democracy in the near future. He also removed several military officials closely linked to the discriminatory Catholic rule of the slain former President Ngô Đình Diệm; this response to Buddhist pressure dismayed several Catholic officers, who made a few abortive moves to remove him from power.
In part because of pressure from Buddhist protests, Khánh removed the Catholics Phát and Đức from the posts of Interior Minister and IV Corps commander, respectively. They responded with a coup supported by the Catholic-aligned Đại Việt Quốc dân đảng, as well as General Trần Thiện Khiêm, a Catholic who had helped Khánh to power. Having captured the radio station, Phát then made a broadcast promising to revive Diệm's policies. Khánh managed to evade capture and, during the first stage of the coup, there was little activity as most senior officers failed to support either side. Throughout the day, Khánh gradually rallied more allies and the U.S. remained supportive of his rule and pressured the rebels to give up. With the backing of Air Marshal Nguyễn Cao Kỳ, commander of the Republic of Vietnam Air Force, and General Nguyễn Chánh Thi, Khánh was able to force Phát and Đức to capitulate the next morning, September 14. Đức, Kỳ and Thi then appeared at a media conference where they denied that any coup had taken place and put on a choreographed display of unity, claiming that nobody would be prosecuted over the events.

Answer: What was the first name of the person who was able to rally support and the coup collapsed the next morning without any casualties?


Question: Passage: The Avenue Range Station massacre was the murder of a group of Aboriginal Australians by white settlers during the Australian frontier wars. It occurred in about September 1848 at Avenue Range, a sheep station in the southeast of the Colony of South Australia.
Information is scarce about the basic facts of the massacre, including the exact date and number of victims. A contemporary account of the massacre listed nine victims – three women, two teenage girls, three infants, and an "old man blind and infirm". Another account published by Christina Smith in 1880 gave the number of victims as eleven, and specified that they belonged to the Tanganekald people. Pastoralist James Brown and his overseer, a man named Eastwood, were suspected of committing the murders in retaliation for attacks on Brown's sheep.
In January 1849, reports of the massacre reached Matthew Moorhouse, the Protector of Aborigines. He visited the district to investigate the claims, and based on his enquiries Brown was charged with the murders in March 1849. Proceedings against Brown began in June 1849 and continued in the Supreme Court of South Australia for several months, but were eventually abandoned. Some key witnesses, including Eastwood, either fled the colony or refused to cooperate with the investigation. There were also significant restrictions on the use of evidence given by Aboriginal witnesses, especially where a verdict could involve capital punishment. These legal hurdles and settler solidarity ensured the case did not go to trial, although the magistrate who committed him for trial told a friend that there was "little question of the butchery or the butcher".
Although the details of the case were known for decades after the murders, distortions of the massacre eventually appeared in print and were embellished by local white and Aboriginal historians. Two key aspects of these later accounts were that Brown poisoned rather than shot the victims, and that he had undertaken an epic horse ride to Adelaide to establish an alibi. Historians Robert Foster, Rick Hosking and Amanda Nettelbeck contend that these "pioneer legend" alterations downplayed the seriousness of the crime.

Answer: The details of the case were known for decades after what murders?


Question: Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.

Answer:
What is the first name of the person who stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement?