Detailed Instructions: In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.
Q: Question: Which school that Blonski taught Polish literature at was found first? Passage 1:Błoński finished his Polish studies at the Jagiellonian University in 1952 during the darkest years of Stalinist terror in Poland. In 1953, he participated in the defamation of Catholic priests from Kraków, three of whom were condemned to death by the Communist government during the Stalinist show trial of the Kraków Curia – he was one of several signatories of an open letter from ZLP to Polish authorities supporting the persecution of Catholic religious leaders groundlessly accused of treason and imprisoned by the Ministry of Public Security – their death sentences were not enforced although Father Józef Fudali died in unexplained circumstances while in prison. Błoński obtained a position with the Institute of Literary Studies of the Polish Academy of Sciences in 1959–62 (after the Polish October). From 1970 he was employed at the Jagiellonian University. He was a vice-rector for didactic affairs (1981–84), director of the Institute of Polish Studies (1988–91), director of the Department of the Theatre (1977–1980) and the Department of the 20th Century Polish Literature (1995–97). As professor, he also lectured Polish literature at the University of Sorbonne, the University of Clermont-Ferrand and the Paris University IV. He died on 10 February 2009 in Kraków.
 Passage 2:A bricklayer by profession, Ciampa also worked in the entertainment business throughout the late 1940s and early 1950s, starring in Larry Sunbrock's Rodeo and Thrill Circus in New York City and then traveling with the circus to various U.S. and Canadian cities. Notably, his act did not include the typical, tightly choreographed feats of circus acrobatics such as trapeze swinging or trampolining, but rather improvised climbing and leaping stunts making use of scaffolding and circus rigging. Spectators were frequently alarmed by the apparently ad libbed and obviously dangerous nature of his performances. In 1947 Ciampa was arrested for having scaled the exterior of the Astor Hotel as a publicity stunt for the Sunbrock Circus, concerning onlookers who feared that he might have been attempting suicide. 
 Passage 3:Edwin Bergstrom studied architecture at the Massachusetts Institute of Technology and at Yale University. He began his architectural practice in New York City in 1899 and then moved to Los Angeles in 1903. He partnered with John Parkinson soon after arriving in Los Angeles. After leaving the partnership with Parkinson, Bergstrom oversaw a successful solo practice. In the 1920s and 1930s, Bergstrom was associated with the Pasadena architectural firm of Bennett and Haskell. He won a design competition in 1923 to design the City of Pasadena Civic Auditorium, which anchors the south end of the city's civic center. In the late 1920s, Bergstrom was one of five prominent Los Angeles architects, organized as the Allied Architects of Los Angeles, involved in designing the Los Angeles County/USC Medical Center General Hospital (1933), an architectural monument in East Los Angeles. Bergstrom was commissioned as the chief consulting architect for the United States War Department in 1941. In this capacity, he served as the chief architect for the Pentagon in Washington, D.C. (1941–43). Bergstrom was also actively involved in the American Institute of Architects (AIA), serving as the national organization's treasurer for over 40 years and as president in 1939 and 1940. During their partnership, Parkinson & Bergstrom became the dominant architectural firm hired to design major buildings in Los Angeles. This prominent partnership designed over 25 buildings in the 10 years of their collaboration, with the majority located in the city's burgeoning downtown. Besides the Metropolitan Building, there are four other Parkinson & Bergstrom buildings located within the boundaries of the Broadway Commercial and Entertainment Historic District. As is evidenced in the Metropolitan Building, Parkinson & Bergstrom commercial buildings typically reflect influences of the Beaux Arts or Classical Revival styles popular at the turn of the century with exterior use of glazed terra cotta, decorative spandrel panels, low relief sculptural ornamentation, and large projecting cornices.

A:
1