In this task, you're given a passage, further information available on a particular linked term from the statement, and an answer term. Your job is to generate a question that can use the information provided to obtain the given answer. You should use the information on both passage and link information to create the question. Note that the answer to the question should be exactly the given answer, and if the answer is none, the answer to the question shouldn't be obtainable from the passage or linked information.

Q: Passage: Belgrade marshalling yard () or Makiš railway station (), or Makiš freight station, is a classification yard of the Belgrade railway junction and the largest railway station in Serbia. It is located in the neighbourhood of Makiš in Čukarica of Belgrade. The railroad continues to Ostružnica in one line via park A, in the other direction to Ostružnica via park B, in third direction to Resnik via junction B near Železnik and junction K of Belgrade railway junction near Petlovo Brdo, in fourth direction to Resnik via junction R in the tunnel below Vidikovac and junction A near Kneževac, in the fifth direction to Rakovica via park B and junction R, in the sixth direction to Rakovica via park A and junction T, in the seventh direction to Rakovica via park B and junction T per second line and the eight towards direction to Jajinci. Belgrade marshalling yard consists of 120 railway tracks.
 Link Information: The urban area of Belgrade has a population of 1.23 million, while nearly 1.7 million people live within the administrative limits of the City of Belgrade  Answer: 1.23 million

A: How many people live in the city that the largest railway station in Serbia is located in?
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Q: Passage: Vassos moved to Boston, Massachusetts in 1919, where he attended the Fenway Art School at night. He studied alongside American artist John Singer Sargent and worked as an assistant for Joseph Urban. In 1924 he moved to New York, where he attended the Art Students League of New York, studying under George Bridgman, John Sloan, and others. He opened his own studio creating window displays for department stores, like Wanamakers, murals, and advertisements for Saks Fifth Avenue, Bonwit Teller, and Packard Motor Cars in his unique black and white illustrated style. At the same time, he illustrated a series of books by Oscar Wilde for E.P. Dutton followed by others including Phobia on which he based his life-long design focus on psychology, his area of expertise as noted by Fortune Magazine's list of top designers in the country. He entered the emergent field of industrial design and was hired by rapidly-growing RCA Victor, under the leadership of David Sarnoff, who discovered Vassos while painting murals at the WCAU skyscraper in Philadelphia. The company had recently acquired Victor Phonograph, built Radio City, and owned NBC Broadcasting, but needed to amplify and modernize their radio manufacturing business. By hiring Vassos, an up-and-coming industrial designer who created their first Styling department, launched Vassos on a four-decade relationship with the company for whom he designed hundreds of items, while also consulting for numerous other clients like Coca-Cola, Waterman, Universal Artists, Remington, and the United States Government. Vassos's work as an interior designer included the Chrysler Building apartment of photographer Margaret Bourke-White, Nedick's Hot Dog stands, displays for RCA in department stores and the World's Fair,and many others for which he employed modular furniture. He eschewed trendy styles like the extreme-streamlined look, popular in the 1930s, and favored the clean, modern look unadorned with unnecessary elements. He expressed his design philosophy for magazines like Pencil Points and in lectures on modern design and art. Although he was hailed as a top designer in the United States during the 1930s, he slipped away from the spotlight of his industrial design peers like Raymond Loewy, Henry Dreyfuss, and Norman Bel Geddes, largely because he did not open a large firm. Unique among the industrial designers of the 20th century, his work was focused on the intersections between interior decorating, furniture design, and the shapes of phonographs, radios and televisions. His contributions include creating a futuristic living room including television, the slide rule dial on radios, emphasis on the haptic experience of media (knobs and buttons), and the "user experience," years before this term was coined.
 Link Information: none Answer: none

A: How many universities did Boston have the year Vassos moved there?
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Q: Passage: An early interest in critical theology made him suspect to some more 'orthodox' Christians. However, he increasingly came to the conclusion that liberal theology failed to account adequately for the moral problem of the guilty conscience. This led him to a moral crisis which he found resolved in the atoning work of Christ. The experience helped to shape and inform a vigorous interest in the issues of holiness and atonement. Although Forsyth rejected many of his earlier liberal leanings he retained many of Adolf von Harnack's criticisms of Chalcedonian Christology. This led him to expound a kenotic doctrine of the incarnation (clearly influenced by Bishop Charles Gore and Thomasius). Where he differed from other kenotic theologies of the atonement was the claim that Christ did not give up his divine attributes but condensed them; i.e., the incarnation was the expression of God's omnipotence rather than its negation. His theology and attack on liberal Christianity can be found in his most famous work, The Person and Place of Christ (1909), which anticipated much of the neo-orthodox theology of the next generation. He has sometimes been coined the 'Barthian before Barth', but this fails to account for many areas of divergence with the Swiss theologian's thought.
 Link Information: liberal theology failed to account adequately for the moral problem of the guilty conscience Answer: failed to account 

A:
How does liberal theology deal with the problem of a guilty conscience?
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