community-datasets/selqa huggingface dataset:
Article: Henry Moore
Section: Beginnings as a sculptor

Question: When did the Royal College of Art in London grant Moore a scholarship?

After the war Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him.
At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years.
In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development.
In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries.
While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals.
Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture.
Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach.
During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's "The Virgin and Child" by first modelling the relief in plaster, then reproducing it in marble using the mechanical technique of "pointing".
Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.
In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters.
During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, previously seen in book illustrations.
The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Article: NCIS (TV series)
Section: Name

Question: What was NCIS named prior to being named NCIS?

Prior to the launch of the first season, advertisements on CBS identified the show as "Naval CIS".
By the time of the launch of the first episode, "NCIS" was airing under the name "Navy NCIS", the name it held for the entire first season.
Since the "N" in NCIS stands for "Naval", the name "Navy NCIS" was redundant.
The decision to use this name was reportedly made by CBS, over the objections of Bellisario, in order to:
 Attract new viewers (particularly those of "JAG"), who might not know the NCIS abbreviation.
 Disambiguate between NCIS and the similarly themed and similarly spelled CBS series "" and its spinoffs.
(The original title, for instance, was often misquoted and parodied as "Navy CSI", something the show itself referenced in the first episode).
From the season two episode, "Lt. Jane Doe" onwards, the series began using what fans of the show have named 'foofs' – black-and-white 'teases' of something to occur later in the episode.
In the season three premiere, "Kill Ari (Part I)", the foofs had the freeze-frame shot added as well.
Article: Galbi
Section: Abstract

Question: What does Kalbi or galbi generally refer to in Korean cuisine?

Kalbi or galbi generally refers to a variety of "gui" or grilled dishes in Korean cuisine that are made with marinated beef (or pork) short ribs in a "ganjang"-based sauce (Korean soy sauce).
In the Korean language, "galbi" literally means "rib" and can refer to cooked or uncooked ribs.
Although the dish's full name is galbi gui, the word ""gui"" (grilling) is commonly omitted.
Suwon and Los Angeles are particularly known for their galbi.
"Galbi" is generally made with beef ribs, and it may be called ""sogalbi"" (소갈비) or ""soegalbi"" (쇠갈비).
The prefix ""so"" or ""soe"" (beef) is often omitted when referring to beef ribs.
It is also called "bulgalbi" when grilled over fire.
"Galbi" can also be made with pork ribs or chicken; in such cases, the dish is called ""dwaeji galbi"" (돼지갈비) or ""dak galbi"" (닭갈비) to emphasize the main ingredient.
It is listed at number 41 on the "World's 50 most delicious foods" readers' poll complied by "CNN Go" in 2011.
Article: I Won't Give Up
Section: Critical reception

Question: What did Loh Chuan Junn write of the song?

The song received generally favorable reviews.
David Greenwald of MTV wrote, "The fresh track's wispy acoustic guitars and patient melody remind us of Irish crooner Damien Rice's 'Delicate,' though when Mraz soars into the chorus, it's with his own signature full-blast hook."
Loh Chuan Junn of MSN Music wrote that "The string-drenched, acoustic-guitar-based sound makes for easy listening, and gets into the listener's head after just the first listen.
With such an honest revelation of emotions in his lyrics, it's hard to imagine the tune does not stir hearts."
According to Katherine St Asaph of PopDust, the song was probably the closest to his and Colbie Caillat collaboration “Lucky.” She added that it was "a gentle acoustic ballad with a hint of speak-singing a ways in but otherwise straightforward and straight-faced soft-rocks its way through sentiments like “when I look into your eyes, it’s like watching the night sky or a beautiful sunrise–there’s just so much they hold”–still earnest, but joke-free."
Amy Dawson of Metro UK called it "a delicate, countrified guitar ballad that drives into a power-chorus singalong conclusion."
Colin McGuire of PopMatters was mixed in his review, writing that "'I Won’t Give Up', for instance, is acoustic guitar-laden folky pop that falls at least a little bit flat with its predictably bland approach.
While the song’s hook proves itself memorable enough, the track never graduates into anything other than the ballad-like tediousness the singer has a tendency to revert into."
Article: The Anatomy Lesson of Dr. Nicolaes Tulp
Section: Abstract

Question: When was The Anatomy Lesson of Dr. Nicolaes Tulp made?

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands.
Dr. Nicolaes Tulp is pictured explaining the musculature of the arm to medical professionals.
Some of the spectators are various doctors who paid commissions to be included in the painting.
The painting is signed in the top-left hand corner "Rembrant.
f 1632".
This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogramme "RHL" (Rembrant Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.
The event can be dated to 16 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.
Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee.
The spectators are appropriately dressed for a solemn social occasion.
It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.
One person is missing: the Preparator, whose task it was to prepare the body for the lesson.
In the 17th century an important scientist such as Dr. Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others.
It is for this reason that the picture shows no cutting instruments.
Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 "De humani corporis fabrica" ("Fabric of the Human Body") by Andreas Vesalius.
Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt.
It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook.
However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.
The surgically astute will notice that the origin of the exposed forearm muscles would seem to indicate that the flexor compartment originates at the lateral epicondyle, when it is, in fact, the medial epicondyle.
It is the common extensor origin that originates at the lateral epicondyle.
In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of an anomalous forearm muscle, the accessory abductor digiti minimi.
Article: World War I
Section: July Crisis

Question: On what date did Britain declare war on Germany following contention over Belgium's neutrality?

The assassination led to a month of diplomatic manoeuvring between Austria-Hungary, Germany, Russia, France, and Britain which was called the July Crisis.
Believing correctly that Serbian officials (especially the officers of the Black Hand) were involved in the plot, and wanting to finally end Serbian interference in Bosnia, Austria-Hungary delivered to Serbia the July Ultimatum, a series of ten demands intentionally made unacceptable, intending to provoke a war with Serbia.
When Serbia agreed to only eight of the ten demands, Austria-Hungary declared war on 28 July 1914.
Strachan argues, "Whether an equivocal and early response by Serbia would have made any difference to Austria-Hungary's behaviour must be doubtful.
Franz Ferdinand was not the sort of personality who commanded popularity, and his demise did not cast the empire into deepest mourning".
The Russian Empire, unwilling to allow Austria-Hungary to eliminate its influence in the Balkans, and in support of its longtime Serb protégé, ordered a partial mobilisation one day later, 29 July.
Germany mobilised on 30 July, and Russia responded by declaring a full mobilisation that same day.
Germany imposed an ultimatum on Russia, through its ambassador in Berlin, to demobilise within 12 hours or face war.
Russia responded by offering to negotiate the terms of a demobilisation.
However, Germany refused to negotiate, declaring war against Russia on 1 August 1914.
Germany's war plan, the Schlieffen Plan, relied on a quick, massive invasion of France to eliminate the threat on the West, before turning east against Russia.
Simultaneously with its mobilisation against Russia, therefore, the German government issued demands that France remain neutral.
The French cabinet resisted military pressure to commence immediate mobilisation, and ordered its troops to withdraw from the border to avoid any incident.
Germany attacked Luxembourg on 2 August, and on 3 August declared war on France.
On 4 August, after Belgium refused to permit German troops to cross its borders into France, Germany declared war on Belgium as well.
Britain declared war on Germany on 4 August 1914, following an "unsatisfactory reply" to the British ultimatum that Belgium must be kept neutral.
Article: Life Is Beautiful
Section: Cast

Question: Who played Ferruccio?

 Roberto Benigni as Guido Orefice
 Nicoletta Braschi as Dora
 Giorgio Cantarini as Joshua
 Giustino Durano as Uncle Eliseo
 Horst Buchholz as Doctor Lessing
 Marisa Paredes as Dora's mother
 Sergio Bustric as Ferruccio
 Amerigo Fontani as Rodolfo
Article: General relativity
Section: Quantum gravity

Question: How is space represented with quantum gravity?

The demand for consistency between a quantum description of matter and a geometric description of spacetime, as well as the appearance of singularities (where curvature length scales become microscopic), indicate the need for a full theory of quantum gravity: for an adequate description of the interior of black holes, and of the very early universe, a theory is required in which gravity and the associated geometry of spacetime are described in the language of quantum physics.
Despite major efforts, no complete and consistent theory of quantum gravity is currently known, even though a number of promising candidates exist.
Attempts to generalize ordinary quantum field theories, used in elementary particle physics to describe fundamental interactions, so as to include gravity have led to serious problems.
At low energies, this approach proves successful, in that it results in an acceptable effective (quantum) field theory of gravity.
At very high energies, however, the result are models devoid of all predictive power ("non-renormalizability").
One attempt to overcome these limitations is string theory, a quantum theory not of point particles, but of minute one-dimensional extended objects.
The theory promises to be a unified description of all particles and interactions, including gravity; the price to pay is unusual features such as six extra dimensions of space in addition to the usual three.
In what is called the second superstring revolution, it was conjectured that both string theory and a unification of general relativity and supersymmetry known as supergravity form part of a hypothesized eleven-dimensional model known as M-theory, which would constitute a uniquely defined and consistent theory of quantum gravity.
Another approach starts with the canonical quantization procedures of quantum theory.
Using the initial-value-formulation of general relativity (cf.
evolution equations above), the result is the Wheeler–deWitt equation (an analogue of the Schrödinger equation) which, regrettably, turns out to be ill-defined.
However, with the introduction of what are now known as Ashtekar variables, this leads to a promising model known as loop quantum gravity.
Space is represented by a web-like structure called a spin network, evolving over time in discrete steps.
Depending on which features of general relativity and quantum theory are accepted unchanged, and on what level changes are introduced, there are numerous other attempts to arrive at a viable theory of quantum gravity, some examples being dynamical triangulations, causal sets, twistor models or the path-integral based models of quantum cosmology.
All candidate theories still have major formal and conceptual problems to overcome.
They also face the common problem that, as yet, there is no way to put quantum gravity predictions to experimental tests (and thus to decide between the candidates where their predictions vary), although there is hope for this to change as future data from cosmological observations and particle physics experiments becomes available.
Article: Mount Rushmore
Section: Abstract

Question: Who was the U.S. senator that sponsored the construction of Mount Rushmore?

The Mount Rushmore National Memorial is a sculpture carved into the granite face of Mount Rushmore (Lakota Sioux name: Six Grandfathers) near Keystone, South Dakota, in the United States.
Sculpted by Danish-American Gutzon Borglum and his son, Lincoln Borglum, Mount Rushmore features sculptures of the heads of four United States presidents: George Washington (1732–1799), Thomas Jefferson (1743–1826), Theodore Roosevelt (1858–1919), and Abraham Lincoln (1809–1865).
The entire memorial covers and is above sea level.
South Dakota historian Doane Robinson is credited with conceiving the idea of carving the likenesses of famous people into the Black Hills region of South Dakota in order to promote tourism in the region.
Robinson's initial idea was to sculpt the Needles; however, Gutzon Borglum rejected the Needles site because of the poor quality of the granite and strong opposition from Native American groups.
They settled on the Mount Rushmore location, which also has the advantage of facing southeast for maximum sun exposure.
Robinson wanted it to feature western heroes like Lewis and Clark, Red Cloud, and Buffalo Bill Cody, but Borglum decided the sculpture should have a more national focus and chose the four presidents whose likenesses would be carved into the mountain.
After securing federal funding through the enthusiastic sponsorship of "Mount Rushmore's great political patron," U.S.
Senator Peter Norbeck, construction on the memorial began in 1927, and the presidents' faces were completed between 1934 and 1939.
Upon Gutzon Borglum's death in March 1941, his son Lincoln Borglum took over construction.
Although the initial concept called for each president to be depicted from head to waist, lack of funding forced construction to end in late October 1941.
Mount Rushmore has become an iconic symbol of presidential greatness and has appeared in works of fiction, and has been discussed or depicted in other popular works.
It attracts nearly three million people annually.
Article: Das Boot
Section: Historical accuracy

Question: How many ardent Nazis where in the crew?

In the film, there is only one ardent Nazi in the crew of 40, namely the First Watch Officer (referred to comically in one scene as "Unser Hitlerjugendführer", "Our Hitler Youth Leader"), with the rest of the officers either indifferent or, in the Captain's case, openly cynical.
The enlisted sailors and non-commissioned officers are portrayed as apolitical.
In his book "Iron Coffins", former U-boat commander Herbert A. Werner states that the selection of naval personnel based on their loyalty to the party occurred only later in the war (from 1943 onward), when the U-boats were suffering high casualties.
At that stage in the war, morale was surely declining and this degree of skepticism may have occurred.
In support of "Das Boot" on this subject, U-Boat historian Michael Gannon maintains that the U-boat navy was one of the least pro-Nazi branches of the German armed forces.
Even though the beginning and the end of the film occur in the port of La Rochelle, it does not correspond historically.
The submarine base in La Rochelle was not functional before November 1941, and at the time of the film the port was dried up.
Moreover, none of the British fighter-bombers of late 1941 to early 1942 had the range to bomb La Rochelle from bases in the U.K.; however, it is possible the fighters were carrier-based and not land based.
While Saint-Nazaire was the base used in the novel, the film was changed to La Rochelle because its appearance had not changed to such a large degree in the years since World War II.
In real life, the "U-96" was based at Saint-Nazaire in late 1941.
It survived this period, but much like its on-screen fate, it actually was sunk by Allied bombers at its berth in Wilhelmshaven in March 1945.
Article: Statue of Liberty
Section: Inscriptions, plaques, and dedications

Question: When was the Statue of Liberty designated a UNESCO World Heritage Site?

There are several plaques and dedicatory tablets on or near the Statue of Liberty.
A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie ("Cie" is the French abbreviation analogous to "Co.").
A presentation tablet, also bearing Bartholdi's name, declares the statue to be a gift from the people of the Republic of France that honors "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."
There is a tablet placed by the New York committee that commemorates the fundraising done to build the pedestal.
The cornerstone also bears a plaque placed by the Freemasons.
In 1903, a bronze tablet that bears the text of "The New Colossus" and commemorates Emma Lazarus was presented by friends of the poet.
Until the 1986 renovation, it was mounted inside the pedestal; today it resides in the Statue of Liberty Museum in the base.
It is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet's life.
A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty.
Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Laboulaye, and Eiffel—are depicted.
They are the work of Maryland sculptor Phillip Ratner.
In 1984, the Statue of Liberty was designated a UNESCO World Heritage Site.
The UNESCO "Statement of Significance" describes the statue as a "masterpiece of the human spirit" that "endures as a highly potent symbol—inspiring contemplation, debate and protest—of ideals such as liberty, peace, human rights, abolition of slavery, democracy and opportunity."
Article: Atomic bombings of Hiroshima and Nagasaki
Section: Hibakusha

Question: Who were the hibakusha?

The survivors of the bombings are called , a Japanese word that literally translates to "explosion-affected people."
, 201,779 "hibakusha" were recognized by the Japanese government, most living in Japan.
The government of Japan recognizes about 1% of these as having illnesses caused by radiation.
The memorials in Hiroshima and Nagasaki contain lists of the names of the "hibakusha" who are known to have died since the bombings.
Updated annually on the anniversaries of the bombings, the memorials record the names of almost 450,000 deceased "hibakusha"; 286,818 in Hiroshima and 162,083 in Nagasaki.
"Hibakusha" and their children were (and still are) victims of severe discrimination in Japan due to public ignorance about the consequences of radiation sickness, with much of the public believing it to be hereditary or even contagious.
This is despite the fact that no statistically demonstrable increase of birth defects or congenital malformations was found among the later conceived children born to survivors of Hiroshima and Nagasaki.
A study of the long-term psychological effects of the bombings on the survivors found that even 17–20 years after the bombings had occurred survivors showed a higher prevalence of anxiety and somatization symptoms.