[Q]: Extract the answer to the question from the following context. Question: Which is not a road: Hanover, Messeschnellweg, or Sudschnellweg? Context: The Schnellweg (en: expressway) system, a number of Bundesstrae roads, forms a structure loosely resembling a large ring road together with A2 and A7. The roads are B 3, B 6 and B 65, called Westschnellweg (B6 on the northern part, B3 on the southern part), Messeschnellweg (B3, becomes A37 near Burgdorf, crosses A2, becomes B3 again, changes to B6 at Seelhorster Kreuz, then passes the Hanover fairground as B6 and becomes A37 again before merging into A7) and Sudschnellweg (starts out as B65, becomes B3/B6/B65 upon crossing Westschnellweg, then becomes B65 again at Seelhorster Kreuz).
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[A]: Hanover

[Q]: Extract the answer to the question from the following context. Question: what ethnicity is mentioned last? Context: In Latin, papyri from Herculaneum dating before 79 AD (when it was destroyed) have been found that have been written in old Roman cursive, where the early forms of minuscule letters "d", "h" and "r", for example, can already be recognised. According to papyrologist Knut Kleve, "The theory, then, that the lower-case letters have been developed from the fifth century uncials and the ninth century Carolingian minuscules seems to be wrong." Both majuscule and minuscule letters existed, but the difference between the two variants was initially stylistic rather than orthographic and the writing system was still basically unicameral: a given handwritten document could use either one style or the other but these were not mixed. European languages, except for Ancient Greek and Latin, did not make the case distinction before about 1300.[citation needed]
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[A]: European

[Q]: Extract the answer to the question from the following context. Question: What was said about the boat in the mosaic? Context: The great Navicella mosaic (13051313) in the atrium of the Old St. Peter's is attributed to Giotto di Bondone. The giant mosaic, commissioned by Cardinal Jacopo Stefaneschi, was originally situated on the eastern porch of the old basilica and occupied the whole wall above the entrance arcade facing the courtyard. It depicted St. Peter walking on the waters. This extraordinary work was mainly destroyed during the construction of the new St. Peter's in the 17th century. Navicella means "little ship" referring to the large boat which dominated the scene, and whose sail, filled by the storm, loomed over the horizon. Such a natural representation of a seascape was known only from ancient works of art.
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[A]: whose sail, filled by the storm, loomed over the horizon

[Q]: Extract the answer to the question from the following context. Question: When was the study of the mind introduced? Context: European comics studies began with Topffer's theories of his own work in the 1840s, which emphasized panel transitions and the visualverbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing textimage relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoit Peeters and Thierry Groensteen turned attention to artists' poietic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les litteratures dessinees" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.
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[A]:
the mid-2000s