input: In 1934 Mahmood Ahmad claimed to have been divinely inspired to launch a twofold scheme for the establishment of foreign missions and the moral upbringing of Ahmadis. This initiative called upon members to volunteer themselves for missionary work, and to donate money towards a special fund for propagation in foreign countries during the course of which 46 foreign missions were established.  The Tehrik-e-Jedid and Waqf-e-Jedid or the 'new scheme' and the 'new dedication' respectively, initially seen as a spiritual battle against the oppressors of the Ahmadis, placed before them a number of demands and restriction such as leading simple lives, restrictions against eating, clothing etc.; a temporary ban on all forms of luxury and entertainment. It called upon the members of the Community to dedicate their time and money for the sake of their faith. In time the scheme produced a vast amount of literature in defence of Islam in general and the Ahmadiyya beliefs in particular. The funds were also spent on the training and dispatching of Ahmadiyya missionaries outside the Indian sub-continent and their sustenance. As part of this Mahmood Ahmad appointed 5 men to survey the Punjab in order to find out the best way of disseminating the Ahmadiyya teachings. For the first time an organised method of training members of the community for becoming missionaries was established. Addressing the Ahrari opposition Mahmood said:  In order to expand the propagation of Islam I have urged the youth to come forward and dedicate their lives for the service of religion. Hundreds of young people have already responded to my call. These graduates are given only 15 rupees a month as an allowance. This is a small allowance that barely caters for their basic needs. Yet living on that paltry sum they travel to other countries and propagate the message of Islam. I invited the members of the Community to come forward and make financial contributions, at the same time I said that the time had not yet come for greater sacrifices. I appealed for only 27,000 rupees whereas the community promised 108,000 rupees out of which more than 82,000 rupees have already been received.  As well as administering proselytisation the scheme also carried the responsibility of a more internal aspect and called upon members of the Community to dedicate their lives for the teaching and moral upbringing of Ahmadis themselves in rural places within India. Later, permanent offices of this scheme were established. The scheme was to grow into international proportions during the leadership of later Caliphs of the Ahmadiyya Muslim Community.

Answer this question "Did followers of the New Scheme act as missionaries?"
output: 

input: Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye,  . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii).  Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.

Answer this question "who is vico?"
output: 

input: Romanek was born in Chicago, Illinois, the son of Shirlee and Marvin Romanek. He is Jewish. He credits seeing Stanley Kubrick's 2001: A Space Odyssey at the age of nine which inspiring him to become a film director. He experimented with Super 8 and 16mm film as a teenager while attending New Trier High School. There, he studied first with Kevin Dole, a local filmmaker who was already creating a form of music video on his own in the mid-1970s, and then with Peter Kingsbury, a filmmaker who had studied with experimentalists Owen Land, John Luther Schofill, and Stan Brakhage at the School of the Art Institute of Chicago. Both teachers exposed students to works by significant figures of the American avant-garde cinema, such as Maya Deren, Kenneth Anger, and Paul Sharits.  Romanek subsequently attended Ithaca College in Ithaca, New York, and graduated from its Roy H. Park School of Communications with a degree in cinema and photography. He served as second assistant director for Brian De Palma on Home Movies, an autobiographical film De Palma conceived as an exercise for his students at Sarah Lawrence College (having returned to his alma mater as an instructor of film production). On set, Romanek met Keith Gordon, playing De Palma's alter ego. Gordon remembers Romanek's entrance into film production:  Romanek released his first film, Static, in 1986. It was co-written with Gordon and starred Gordon as a man who claimed he had invented a television set capable of showing a live picture of Heaven. The film achieved something of a cult following in London and led to Romanek's first job at the helm of a music video for the British new wave group The The, who featured on the soundtrack for Static, in 1986.

Answer this question "What was Mark's first major film he directed after film school?"
output:
Romanek released his first film, Static, in 1986.