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q20 | except | 1 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,111 | NO | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | Was the fate of the people of Strasbourg, a city of the Décapole in Alsace, and the fate of the people of the Bishopric of Metz very similar in regard to whether or not they became citizens of France? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, besides Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q30 | except | 1 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,112 | NO | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | Was the city of Mulhouse completely unique in relation to the other members of the Décapole in regard to what happened to it following the signing of the treaties? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, besides Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q10 | except | 2 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,113 | NO | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | If someone said that they lived in the Décapole in Alsace, would you know with certainty whether or not their city was ceded? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q20 | except | 2 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,114 | YES | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | Was the fate of the people of Strasbourg, a city of the Décapole in Alsace, and the fate of the people of the Bishopric of Metz very similar in regard to whether or not they became citizens of France? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q30 | except | 2 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,115 | YES | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | Was the city of Mulhouse completely unique in relation to the other members of the Décapole in regard to what happened to it following the signing of the treaties? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q10 | except | 3 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,116 | YES | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | If someone said that they lived in the Décapole in Alsace, would you know with certainty whether or not their city was ceded? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were not formally ceded, but the cities of the Décapole in Alsace, including Strasbourg and Mulhouse, were. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q20 | except | 3 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,117 | NO | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | Was the fate of the people of Strasbourg, a city of the Décapole in Alsace, and the fate of the people of the Bishopric of Metz very similar in regard to whether or not they became citizens of France? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were not formally ceded, but the cities of the Décapole in Alsace, including Strasbourg and Mulhouse, were. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q30 | except | 3 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. | 1,118 | NO | In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were formally ceded, as were the cities of the Décapole in Alsace, with the exception of Strasbourg and Mulhouse. | Was the city of Mulhouse completely unique in relation to the other members of the Décapole in regard to what happened to it following the signing of the treaties? | 94 | Externally, the treaties formally acknowledged the independence of the Dutch Republic and the Swiss Confederacy, effectively autonomous since 1499. In Lorraine, the Three Bishoprics of Metz, Toul and Verdun, occupied by France since 1552, were not formally ceded, but the cities of the Décapole in Alsace, including Strasbourg and Mulhouse, were. Sweden received an indemnity of five million thalers, the Imperial territories of Swedish Pomerania, and Prince-bishoprics of Bremen and Verden; this gave them a seat in the Imperial Diet. |
q10 | without | 0 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,119 | NO | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German consulate, but no diplomatic mission, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q20 | without | 0 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,120 | NO | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German diplomatic mission but no consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q30 | without | 0 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,121 | YES | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has no German diplomatic or consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q10 | without | 1 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,122 | NO | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German consulate, but no diplomatic mission, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country with an absence of diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q20 | without | 1 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,123 | NO | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German diplomatic mission but no consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country with an absence of diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q30 | without | 1 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,124 | YES | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has no German diplomatic or consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country with an absence of diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q10 | without | 2 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,125 | YES | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German consulate, but no diplomatic mission, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic but with consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q20 | without | 2 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,126 | NO | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German diplomatic mission but no consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic but with consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q30 | without | 2 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,127 | YES | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has no German diplomatic or consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic but with consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q10 | without | 3 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,128 | YES | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German consulate, but no diplomatic mission, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country with diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q20 | without | 3 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,129 | YES | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has a German diplomatic mission but no consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country with diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q30 | without | 3 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | 1,130 | NO | European citizens in need of consular help in a country without diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. | If a German citizen loses their passport in a country that has no German diplomatic or consulate, can they go to a French consulate to get a new passport? | 95 | Diplomatic missions between members of the British Commonwealth of Nations are not called embassies, but high commissions, for Commonwealth nations share a special diplomatic relationship. It is generally expected that an embassy of a Commonwealth country in a non-Commonwealth country will do its best to provide diplomatic services to citizens from other Commonwealth countries if the citizen's country does not have an embassy in that country. Canadian and Australian nationals enjoy even greater cooperation between their respective consular services, as outlined in the Canada-Australia Consular Services Sharing Agreement. The same kind of procedure is also followed multilaterally by the member states of the European Union (EU). European citizens in need of consular help in a country with diplomatic or consular representation of their own country may turn to any consular or diplomatic mission of another EU member state. |
q10 | refused | 0 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,131 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Does it seem like Arafat was intent on reaching a resolution as quickly as possible? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q20 | refused | 0 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,132 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is it likely that Arafat was an easy person to negotiate with? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q30 | refused | 0 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,133 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is there a good chance that Barak's offer caused Arafat to want to stop the negotiations altogether. | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q10 | refused | 1 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,134 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Does it seem like Arafat was intent on reaching a resolution as quickly as possible? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and dismissed making an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q20 | refused | 1 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,135 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is it likely that Arafat was an easy person to negotiate with? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and dismissed making an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q30 | refused | 1 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,136 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is there a good chance that Barak's offer caused Arafat to want to stop the negotiations altogether. | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and dismissed making an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q10 | refused | 2 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,137 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Does it seem like Arafat was intent on reaching a resolution as quickly as possible? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make any counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q20 | refused | 2 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,138 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is it likely that Arafat was an easy person to negotiate with? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make any counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q30 | refused | 2 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,139 | YES | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is there a good chance that Barak's offer caused Arafat to want to stop the negotiations altogether. | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make any counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q10 | refused | 3 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,140 | YES | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Does it seem like Arafat was intent on reaching a resolution as quickly as possible? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer but attempted to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q20 | refused | 3 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,141 | YES | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is it likely that Arafat was an easy person to negotiate with? | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer but attempted to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q30 | refused | 3 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer and refused to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." | 1,142 | NO | Arafat rejected Barak's offer and refused to make an immediate counter-offer. | Is there a good chance that Barak's offer caused Arafat to want to stop the negotiations altogether. | 96 | Arafat continued negotiations with Netanyahu's successor, Ehud Barak, at the Camp David 2000 Summit in July 2000. Due partly to his own politics (Barak was from the leftist Labor Party, whereas Netanyahu was from the rightist Likud Party) and partly due to insistence for compromise by President Clinton, Barak offered Arafat a Palestinian state in 73 percent of the West Bank and all of the Gaza Strip. The Palestinian percentage of sovereignty would extend to 90 percent over a ten- to twenty-five-year period. Also included in the offer was the return of a small number of refugees and compensation for those not allowed to return. Palestinians would also have "custodianship" over the Temple Mount, sovereignty on all Islamic and Christian holy sites, and three of Jerusalem's four Old City quarters. Arafat rejected Barak's offer but attempted to make an immediate counter-offer. He told President Clinton that, "the Arab leader who would surrender Jerusalem is not born yet." |
q10 | unrealistic | 0 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,143 | NO | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | If we take Michael Bay at his word when he talks about the feasibility of asteroid-destroying technology at the end of the twentieth century, does it sound like NASA's disclaimer at the end of the movie was simply just a piece of legal boilerplate rather than an actual denial of what the movie implied? | 97 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q20 | unrealistic | 0 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,144 | YES | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Again, assuming that Bay's understanding of technical feasibility was accurate, does the passage make it sound like the biggest technical hurdle for NASA to deal with a potential planet-killing asteroid would be dealing with the immense size of an asteroid rather than accurately tracking and reaching it in time? | 97 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q30 | unrealistic | 0 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,145 | NO | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Does the passage make it sound like NASA in the 2020s or 2030s could actually conduct a mission that mimics the events of the movie, on an asteroid that is known to pose no risk, as a test for a future in which such measures might actually be necessary? | 97 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q10 | unrealistic | 1 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,146 | NO | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | If we take Michael Bay at his word when he talks about the feasibility of asteroid-destroying technology at the end of the twentieth century, does it sound like NASA's disclaimer at the end of the movie was simply just a piece of legal boilerplate rather than an actual denial of what the movie implied? | 97 | Bay gave an interview to "Entertainment Weekly" in which he admitted that the central idea of the movie, that NASA astronauts were capable of performing such feats, was infeasible. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is smaller in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q20 | unrealistic | 1 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,147 | YES | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Again, assuming that Bay's understanding of technical feasibility was accurate, does the passage make it sound like the biggest technical hurdle for NASA to deal with a potential planet-killing asteroid would be dealing with the immense size of an asteroid rather than accurately tracking and reaching it in time? | 97 | Bay gave an interview to "Entertainment Weekly" in which he admitted that the central idea of the movie, that NASA astronauts were capable of performing such feats, was infeasible. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is smaller in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q30 | unrealistic | 1 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,148 | NO | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Does the passage make it sound like NASA in the 2020s or 2030s could actually conduct a mission that mimics the events of the movie, on an asteroid that is known to pose no risk, as a test for a future in which such measures might actually be necessary? | 97 | Bay gave an interview to "Entertainment Weekly" in which he admitted that the central idea of the movie, that NASA astronauts were capable of performing such feats, was infeasible. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is smaller in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q10 | unrealistic | 2 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,149 | YES | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | If we take Michael Bay at his word when he talks about the feasibility of asteroid-destroying technology at the end of the twentieth century, does it sound like NASA's disclaimer at the end of the movie was simply just a piece of legal boilerplate rather than an actual denial of what the movie implied? | 97 | In an interview with "Entertainment Weekly", Bay proclaimed that the film's central premise "that NASA could actually do something in a situation like this" was far from unrealistic, even at the time . Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is much smaller in diameter, and thus more manageable, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q20 | unrealistic | 2 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,150 | NO | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Again, assuming that Bay's understanding of technical feasibility was accurate, does the passage make it sound like the biggest technical hurdle for NASA to deal with a potential planet-killing asteroid would be dealing with the immense size of an asteroid rather than accurately tracking and reaching it in time? | 97 | In an interview with "Entertainment Weekly", Bay proclaimed that the film's central premise "that NASA could actually do something in a situation like this" was far from unrealistic, even at the time . Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is much smaller in diameter, and thus more manageable, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q30 | unrealistic | 2 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,151 | YES | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Does the passage make it sound like NASA in the 2020s or 2030s could actually conduct a mission that mimics the events of the movie, on an asteroid that is known to pose no risk, as a test for a future in which such measures might actually be necessary? | 97 | In an interview with "Entertainment Weekly", Bay proclaimed that the film's central premise "that NASA could actually do something in a situation like this" was far from unrealistic, even at the time . Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is much smaller in diameter, and thus more manageable, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q10 | unrealistic | 3 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,152 | YES | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | If we take Michael Bay at his word when he talks about the feasibility of asteroid-destroying technology at the end of the twentieth century, does it sound like NASA's disclaimer at the end of the movie was simply just a piece of legal boilerplate rather than an actual denial of what the movie implied? | 97 | In an interview with "Entertainment Weekly", Bay reiterated that the film's central premise "that NASA could actually do something in a situation like this" was actually quite plausible. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is actually much smaller in diameter and easier to break up than the comet in the movie, which is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q20 | unrealistic | 3 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,153 | NO | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Again, assuming that Bay's understanding of technical feasibility was accurate, does the passage make it sound like the biggest technical hurdle for NASA to deal with a potential planet-killing asteroid would be dealing with the immense size of an asteroid rather than accurately tracking and reaching it in time? | 97 | In an interview with "Entertainment Weekly", Bay reiterated that the film's central premise "that NASA could actually do something in a situation like this" was actually quite plausible. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is actually much smaller in diameter and easier to break up than the comet in the movie, which is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q30 | unrealistic | 3 | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is only in diameter, while the comet in the movie is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." | 1,154 | YES | In an interview with "Entertainment Weekly", Bay admitted that the film's central premise "that NASA could actually do something in a situation like this" was unrealistic. | Does the passage make it sound like NASA in the 2020s or 2030s could actually conduct a mission that mimics the events of the movie, on an asteroid that is known to pose no risk, as a test for a future in which such measures might actually be necessary? | 97 | In an interview with "Entertainment Weekly", Bay reiterated that the film's central premise "that NASA could actually do something in a situation like this" was actually quite plausible. Additionally, the largest known Potentially Hazardous Asteroid (PHA) is (53319) 1999 JM8, which is actually much smaller in diameter and easier to break up than the comet in the movie, which is described as being "the size of Texas". Near the end of the credits, there is a disclaimer stating, "The National Aeronautics and Space Administration's cooperation and assistance does not reflect an endorsement of the contents of the film or the treatment of the characters depicted therein." |
q10 | undeniable | 0 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,155 | YES | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece? | 98 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q20 | undeniable | 0 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,156 | NO | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame? | 98 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q30 | undeniable | 0 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,157 | NO | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries? | 98 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q10 | undeniable | 1 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,158 | YES | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece? | 98 | The avant-garde art world has made note of the "Mona Lisa"s popularity, which would be impossible to deny. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q20 | undeniable | 1 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,159 | NO | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame? | 98 | The avant-garde art world has made note of the "Mona Lisa"s popularity, which would be impossible to deny. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q30 | undeniable | 1 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,160 | NO | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries? | 98 | The avant-garde art world has made note of the "Mona Lisa"s popularity, which would be impossible to deny. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q10 | undeniable | 2 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,161 | NO | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece? | 98 | The avant-garde art world has made note of the "Mona Lisa"s popularity, though they make pains to point out that the artistic talent therein is far from undeniable. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q20 | undeniable | 2 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,162 | YES | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame? | 98 | The avant-garde art world has made note of the "Mona Lisa"s popularity, though they make pains to point out that the artistic talent therein is far from undeniable. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q30 | undeniable | 2 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,163 | YES | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries? | 98 | The avant-garde art world has made note of the "Mona Lisa"s popularity, though they make pains to point out that the artistic talent therein is far from undeniable. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q10 | undeniable | 3 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,164 | NO | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Despite the crude nature of some of their work, would art historians conclude that the avant-garde crowd's parodies were done out of love and/or respect for Leonardo's masterpiece? | 98 | The avant-garde art world has made deliberate attempts to challenge the Mona Lisa's popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q20 | undeniable | 3 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,165 | YES | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | Does it sound like the avant-garde world was truly trying to draw attention away from the old masters, and toward a more modern style of painting, which they considered more deserving of fame? | 98 | The avant-garde art world has made deliberate attempts to challenge the Mona Lisa's popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q30 | undeniable | 3 | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. | 1,166 | YES | The avant-garde art world has made note of the "Mona Lisa"s undeniable popularity. | If these avant-garde artists had instead lived many decades later, in the age of search engines, would they have mixed feelings about the continuing popularity of the Mona Lisa because they a.) viewed it as undeserving, but b.) saw the chance to get more visibility for their own works alongside vanilla search queries? | 98 | The avant-garde art world has made deliberate attempts to challenge the Mona Lisa's popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, "Le rire," an image of a "Mona Lisa" smoking a pipe, by Sapeck (Eugène Bataille), was shown at the "Incoherents" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created "L.H.O.O.Q.", a "Mona Lisa" parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like "Elle a chaud au cul" meaning: "she has a hot ass", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face. |
q10 | few | 0 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,167 | YES | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a three month old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q11 | few | 0 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,168 | YES | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a one year old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q12 | few | 0 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,169 | NO | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | After changing its coat color, would a young bull have more than one stripe on its back? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q10 | few | 1 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,170 | YES | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a three month old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at several months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q11 | few | 1 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,171 | YES | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a one year old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at several months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q12 | few | 1 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,172 | NO | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | After changing its coat color, would a young bull have more than one stripe on its back? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at several months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q10 | few | 2 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,173 | DON'T KNOW | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a three month old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour to black, with a few white eel stripes running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q11 | few | 2 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,174 | DON'T KNOW | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a one year old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour to black, with a few white eel stripes running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q12 | few | 2 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,175 | YES | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | After changing its coat color, would a young bull have more than one stripe on its back? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour to black, with a few white eel stripes running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q10 | few | 3 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,176 | NO | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a three month old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. As they reached puberty, young bulls changed their coat colour to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q11 | few | 3 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,177 | YES | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | Would a one year old bull have a black coat? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. As they reached puberty, young bulls changed their coat colour to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q12 | few | 3 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. | 1,178 | NO | Young bulls changed their coat colour at a few months old to black, with a white eel stripe running down the spine. | After changing its coat color, would a young bull have more than one stripe on its back? | 99 | The coat colour of the aurochs can be reconstructed by using historical and contemporary depictions. In his letter to Conrad Gesner (1602), Anton Schneeberger describes the aurochs, a description that agrees with cave paintings in Lascaux and Chauvet. Calves were born a chestnut colour. As they reached puberty, young bulls changed their coat colour to black, with a white eel stripe running down the spine. Cows retained the reddish-brown colour. Both sexes had a light-coloured muzzle. Some North African engravings show aurochs with a light-coloured "saddle" on the back, but otherwise no evidence of variation in coat colour is seen throughout its range. A passage from Mucante (1596) describes the "wild ox" as gray, but is ambiguous and may refer to the wisent. Egyptian grave paintings show cattle with a reddish-brown coat colour in both sexes, with a light saddle, but the horn shape of these suggest that they may depict domesticated cattle. Remains of aurochs hair were not known until the early 1980s. |
q10 | informal | 0 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,179 | NO | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | From this passage, can you gather that Evers was on the White House payroll for at least two different presidents? | 100 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q20 | informal | 0 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,180 | YES | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents? | 100 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q30 | informal | 0 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,181 | NO | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers? | 100 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q10 | informal | 1 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,182 | NO | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | From this passage, can you gather that Evers was on the White House payroll for at least two different presidents? | 100 | Evers befriended a range of people from sharecroppers to presidents. Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, despite their wide range of political beliefs, all utilized Evers in an unofficial advisory role. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q20 | informal | 1 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,183 | YES | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents? | 100 | Evers befriended a range of people from sharecroppers to presidents. Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, despite their wide range of political beliefs, all utilized Evers in an unofficial advisory role. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q30 | informal | 1 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,184 | NO | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers? | 100 | Evers befriended a range of people from sharecroppers to presidents. Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, despite their wide range of political beliefs, all utilized Evers in an unofficial advisory role. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q10 | informal | 2 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,185 | YES | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | From this passage, can you gather that Evers was on the White House payroll for at least two different presidents? | 100 | Evers befriended a range of people from sharecroppers to presidents. He was an official, formal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, and even provided informal support to some members of Congress. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q20 | informal | 2 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,186 | NO | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents? | 100 | Evers befriended a range of people from sharecroppers to presidents. He was an official, formal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, and even provided informal support to some members of Congress. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q30 | informal | 2 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,187 | YES | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers? | 100 | Evers befriended a range of people from sharecroppers to presidents. He was an official, formal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy, and even provided informal support to some members of Congress. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q10 | informal | 3 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,188 | YES | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | From this passage, can you gather that Evers was on the White House payroll for at least two different presidents? | 100 | Evers befriended a range of people from sharecroppers to presidents. He served, in an official capacity as adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q20 | informal | 3 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,189 | NO | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | Would any advice that Evers gave to Presidents Johnson and Reagan likely to be simply words shared in the halls, rather than something that could have been recorded in official documents? | 100 | Evers befriended a range of people from sharecroppers to presidents. He served, in an official capacity as adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q30 | informal | 3 | Evers befriended a range of people from sharecroppers to presidents. He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. | 1,190 | YES | He was an informal adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. | If Evers was to put together a c.v. for the next phase of his career, could he have included the names of these Presidents and Presidential contenders not only as references, but also as actual paid employers? | 100 | Evers befriended a range of people from sharecroppers to presidents. He served, in an official capacity as adviser to politicians as diverse as Lyndon B. Johnson, George C. Wallace, Ronald Reagan and Robert F. Kennedy. On the other hand, Evers severely criticized such national leaders as Roy Wilkins, Stokely Carmichael, H. Rap Brown and Louis Farrakhan over various issues. |
q10 | reject | 0 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,191 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q20 | reject | 0 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,192 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q30 | reject | 0 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,193 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q10 | reject | 1 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,194 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will be repulsed and leave him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q20 | reject | 1 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,195 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will be repulsed and leave him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q30 | reject | 1 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,196 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will be repulsed and leave him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q10 | reject | 2 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,197 | YES | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject the poor fashion choices he has made. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q20 | reject | 2 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,198 | YES | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject the poor fashion choices he has made. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q30 | reject | 2 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,199 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject the poor fashion choices he has made. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q10 | reject | 3 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,200 | YES | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Given Glen's concerns, is it likely that he and Barbara lived in a time and culture in which cross-dressing was largely tolerated and understood? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He decides to subtly hint at his cross-dressing around his fiancée, Barbara, fearing that she will leave him if she learns that he has kept a secret. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q20 | reject | 3 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,201 | YES | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | Regardless of broader societal attitudes, does Glen assume that his fiancee will come to accept his desires? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He decides to subtly hint at his cross-dressing around his fiancée, Barbara, fearing that she will leave him if she learns that he has kept a secret. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q30 | reject | 3 | The narrative explains that Glen is a transvestite, but not a homosexual. He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. | 1,202 | NO | He hides his cross-dressing from his fiancée, Barbara, fearing that she will reject him. | If Glen and Barbara coincidentally wore the same size of clothes, does it seem like Glen would expect his future wife to accept him, and even borrow his clothes in the future? | 101 | The narrative explains that Glen is a transvestite, but not a homosexual. He decides to subtly hint at his cross-dressing around his fiancée, Barbara, fearing that she will leave him if she learns that he has kept a secret. She has no idea that certain of her clothes are fetish objects for him. When Barbara notices that something is bothering him, Glen does not have the courage to explain his secret to her. She voices her suspicion that there is another woman in his life, unaware that the woman is his feminine alter ego, Glenda. The scene shifts from a speechless Glen to footage of a stampeding herd of bison, while the Scientist calls for Glen to "Pull the string. Dance to that for which one is made!", referring to the narrator pulling the strings of a hapless puppet who is not in control of his own destiny. |
q10 | unfinished | 0 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,203 | YES | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | Would Hopkinson likely have felt that his work on the drawing of the pyramid was complete? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. |
q20 | unfinished | 0 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,204 | NO | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | Would the image of the pyramid look nearly identical to pyramids found in real life? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. |
q30 | unfinished | 0 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,205 | NO | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | If the pyramid in the image was real, would you likely be able to climb to the top of it? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. |
q10 | unfinished | 1 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,206 | YES | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | Would Hopkinson likely have felt that his work on the drawing of the pyramid was complete? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The partially complete pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. |
q20 | unfinished | 1 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,207 | NO | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | Would the image of the pyramid look nearly identical to pyramids found in real life? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The partially complete pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. |
q30 | unfinished | 1 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,208 | NO | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | If the pyramid in the image was real, would you likely be able to climb to the top of it? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The partially complete pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. |
q10 | unfinished | 2 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,209 | NO | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | Would Hopkinson likely have felt that his work on the drawing of the pyramid was complete? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains a pyramid below a radiant eye. The pyramid was an unfinished image used by Hopkinson when he designed the Continental $50 currency bill. |
q20 | unfinished | 2 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains an unfinished pyramid below a radiant eye. The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | 1,210 | DON'T KNOW | The unfinished pyramid was an image used by Hopkinson when he designed the Continental $50 currency bill. | Would the image of the pyramid look nearly identical to pyramids found in real life? | 102 | On today's Great Seal of the United States, the 13 stars (constellation) representing the 13 original states have five points. They are arranged in the shape of a larger star with six points. The constellation comprising 13 smaller stars symbolizes the national motto, "E pluribus unum." Originally, the design had individual stars with six points, but this was changed in 1841 when a new die was cast. This seal is now impressed upon the reverse of the United States one-dollar bill. The reverse of the seal, designed by William Barton, contains a pyramid below a radiant eye. The pyramid was an unfinished image used by Hopkinson when he designed the Continental $50 currency bill. |
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