Question: The Game of Death is an incomplete 1972 Hong Kong martial arts film directed, written, produced by and starring Bruce Lee, in his final film attempt. Lee died during the making of the film. Over 100 minutes of footage was shot prior to his death, some of which was later misplaced in the Golden Harvest archives. The remaining footage has been released with Lee's original Cantonese and English dialogue, with John Little dubbing Lee's Hai Tien character as part of the documentary entitled Bruce Lee:

The original plot involves Lee playing the role of Hai Tien, a retired champion martial artist who is confronted by Korean underworld gangs. They tell him the story of a pagoda where guns are prohibited, and under heavy guard by highly skilled martial artists who are protecting something (which is not identified at all in any surviving material) held on its top level. The gang boss wants Hai to be a part of a group whose purpose is to retrieve said item. They would be the second group to try to do so as the first attempt with a previous group had failed. When Hai refuses, his younger sister and brother are kidnapped, forcing him to participate. Hai, as well as four other martial artists (two of whom were played by James Tien and Chieh Yuan), then fight their way up a five-level pagoda, encountering a different challenge on each floor. The setting of the pagoda was at Beopjusa temple in Songnisan National Park in South Korea.  The pagoda, called Palsang-jon, is the only remaining wooden pagoda in South Korea. At the base of the pagoda they fight 10 people, all black belts in Karate. While inside the pagoda, they encounter a different opponent on each floor, each more challenging than the last. Although his allies try to help out, they are handily defeated, and Hai must face each of the martial artists in one-on-one combat. He defeats Filipino Eskrima master Dan Inosanto, Korean Hapkido master Ji Han-jae, and finally Kareem Abdul-Jabbar, who fights with a free and fluid style mirroring Lee's Jeet Kune Do. Because Abdul-Jabbar's character has great size and strength in addition to a fighting style as potent as Lee's, he can only be defeated once Hai recognises that an unusually high sensitivity to light is his greatest weakness.  Immediately after defeating the giant guardian, Hai turns around and descends the staircase, heading out of the pagoda. Despite all the talk of something awaiting up top of the (now unguarded) flight of stairs, there is no mention of anyone going up to retrieve it. No surviving material explains how this will affect Hai or his captive siblings.

Using a quote from the above article, answer the following question: Does Hai have a role in the pagaoda?
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Answer: Hai must face each of the martial artists in one-on-one combat.


Question: Madhva Acharya (mdhvaacaaryru)(Sanskrit pronunciation: [m@dhva:'tSa:rj@]; CE 1238-1317 ), also known as Purna Prajna and Ananda Teertha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tatva-vaada meaning "the tattva or realist viewpoint". Madhvacarya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order.

The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer:
All three of his later names are found in his works.