sentence-transformers/squad huggingface dataset:
Passage: The graphic novel—book-length comics—began to gain attention after Will Eisner popularized the term with his book A Contract with God (1978). The term became widely known with the public after the commercial success of Maus, Watchmen, and The Dark Knight Returns in the mid-1980s. In the 21st century graphic novels became established in mainstream bookstores and libraries and webcomics became common.

Question: What is a comic that is as long as a book called?

Question: Who helped "graphic novel" get public attention?

Question: What decade did the term "graphic novel" become well known by the public?

Question: In addition to printed graphic novels in stores, what became popular online?

Question: The popularity of the Watchmen, The Dark Knight Returns and what other comic helped popularize "graphic novel" as a term?
Passage: The francophone Swiss Rodolphe Töpffer produced comic strips beginning in 1827, and published theories behind the form. Cartoons appeared widely in newspapers and magazines from the 19th century. The success of Zig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate. The Adventures of Tintin, with its signature clear line style, was first serialized in newspaper comics supplements beginning in 1929, and became an icon of Franco-Belgian comics.

Question: Who started producing comic strips and theories about them in 1827?

Question: What century had comics in wide production?

Question: What 1925 cartoon made speech bubbles popular?

Question: What comics began to dominate in Europe?

Question: When was "The Adventures of Tintin" serialized?
Passage: Following the success of Le Journal de Mickey (1934–44), dedicated comics magazines and full-colour comics albums became the primary outlet for comics in the mid-20th century. As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[d]

Question: In the United States in the middle of the 20th century comics were seen as a risk to culture and what?

Question: What was seen as "infantile" in the United States?

Question: Comics were quoted as a sabotage of art and what?
Passage: In the 1960s, the term bandes dessinées ("drawn strips") came into wide use in French to denote the medium. Cartoonists began creating comics for mature audiences, and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform. A group including René Goscinny and Albert Uderzo founded the magazine Pilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo's The Adventures of Asterix appeared in it and went on to become the best-selling French-language comics series. From 1960, the satirical and taboo-breaking Hara-Kiri defied censorship laws in the countercultural spirit that led to the May 1968 events.

Question: What does bandes dessinées mean?

Question: Comics for adults began to be called what?

Question: What year did Pilote begin?

Question: What became a best-seller comic in the French language?
Passage: Frustration with censorship and editorial interference led to a group of Pilote cartoonists to found the adults-only L'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction of Mœbius and others in Métal hurlant, even mainstream publishers took to publishing prestige-format adult comics.

Question: Pilote cartoonists were upset with censorship and what?

Question: When was L'Écho des savanes begun?

Question: Métal hurlant was of what genre?

Question: What format did adult comics begin to be published in?
Passage: Historical narratives of manga tend to focus either on its recent, post-WWII history, or on attempts to demonstrates deep roots in the past, such as to the Chōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-century Hokusai Manga. The first historical overview of Japanese comics was Seiki Hosokibara's Nihon Manga-Shi[i] in 1924. Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication for Tomofusa Kure's Modern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field of manga studies increased rapidly, with numerous books on the subject appearing in the 1990s. Formal theories of manga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element. Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics (ja)[l] was established in 2001 to promote comics scholarship. The publication of Frederik L. Schodt's Manga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the word manga outside Japan to mean "Japanese comics" or "Japanese-style comics".

Question: Which historical overview did Seiki Hosokibara create?

Question: When did Hosokibara create Nihon Manga-Shi?

Question: What was created in 2001 to give students comic scholarships?

Question: Who helped the rest of the world use the word manga outside of Japan's borders?

Question: What publication is Schodt responsible for?
Passage: Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.

Question: Who put together a history of American comics in 1947?

Question: What was the name of Waugh's work?

Question: Who created a book about comics from a philosophical point of view?

Question: What book did Will Eisner create in 1985?
Passage: Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages. The French term for comics, bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor, which can imply the exclusion of even photographic comics. The term manga is used in Japanese to indicate all forms of comics, cartooning, and caricature.

Question: What word is used in France for comics?

Question: What word is used in Japan for comics?

Question: What does bandes dessinées mean?

Question: What is the definitive factor of bandes dessinées?
Passage: Webcomics are comics that are available on the internet. They are able to reach large audiences, and new readers usually can access archived installments. Webcomics can make use of an infinite canvas—meaning they are not constrained by size or dimensions of a page.

Question: What comics are on the Internet?

Question: Webcomics reach large audiences and new what?

Question: With webcomics, readers have access to what?

Question: Not held back by size limits, webcomics are said to have a what?
Passage: Some consider storyboards and wordless novels to be comics. Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public. Wordless novels are books which use sequences of captionless images to deliver a narrative.

Question: Storyboards and what are thought to be comics by some?

Question: Storyboards are used a lot by what?

Question: Storyboards are not considered what?

Question: Who does not often see storyboards used in film making?

Question: A book with pictures with no captions that tell a story are called what?
Passage: Similar to the problems of defining literature and film, no consensus has been reached on a definition of the comics medium, and attempted definitions and descriptions have fallen prey to numerous exceptions. Theorists such as Töpffer, R. C. Harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images. Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.

Question: What has not been reached as far as defining comics is concerned?

Question: R. C. Harvey, Will Eisner and others are considered to be comic what?

Question: What are there prominent examples of in comic history?

Question: Comic critics, such as McCloud, stressed that sequences of what should be primary?

Question: What century had forgotten comic forms rediscovered?
Passage: European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing text–image 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 Benoît Peeters and Thierry Groensteen turned attention to artists' poïetic 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 littératures dessinées" (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.

Question: In the 1840s, Töpffer wrote theories about whose work?

Question: Who introduced the term "multiframe"?

Question: Who used a semiotics method to study comics in the 1970s?

Question: Who used cognitive science to learn how people understand comics?
Passage: Many cultures have taken their words for comics from English, including Russian (Russian: Комикс, komiks) and German (comic). Similarly, the Chinese term manhua and the Korean manhwa derive from the Chinese characters with which the Japanese term manga is written.

Question: What Russian word is used for comics?

Question: What German word is used for comics?

Question: What Chinese word was derived from the Japanese word manga?

Question: What Korean word was derived from the Japanese word for manga?
Passage: The English term comics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips; usage of the term has become standard for non-humorous works as well. The term "comic book" has a similarly confusing history: they are most often not humorous; nor are they regular books, but rather periodicals. It is common in English to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language Franco-Belgian comics.

Question: The word comic comes from the humorous pieces found where?

Question: Comic is used for what other kind of work other than humorous works?

Question: Comic books are what type of books?

Question: What is the term that the English use for the comics out of Japan?

Question: What is the term that the English use for the comics that come out of Belgian?
Passage: While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separate writers and artists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan. Particularly in American superhero comic books, the art may be divided between a penciller, who lays out the artwork in pencil; an inker, who finishes the artwork in ink; a colourist; and a letterer, who adds the captions and speech balloons.

Question: Though one person typically creates the comic, there are usually a number of what involved in actually designing it?

Question: What is a person called who does the initial pencil work for the artwork?

Question: What does an inker do?
Passage: Panels are individual images containing a segment of action, often surrounded by a border. Prime moments in a narrative are broken down into panels via a process called encapsulation. The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events. The size, shape, and arrangement of panels each affect the timing and pacing of the narrative. The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.

Question: What are the individual images with action called in comics?

Question: Narrative is placed into panels using what?

Question: Who puts the panels together using closure?

Question: Timing and pace of comics is made by adjusting size, shape and what of panels?

Question: When a comic panel has events that are not at the same time the panel is considered to be what?
Passage: Text is frequently incorporated into comics via speech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case of thought balloons), with tails pointing at their respective speakers. Captions can give voice to a narrator, convey characters' dialogue or thoughts, or indicate place or time. Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics. Sound effects mimic non-vocal sounds textually using onomatopoeia sound-words.

Question: What association with comics is strong?

Question: The presence of a single speech balloon in an image turns it into what?

Question: What type of words are used to do sound effects in comics?
Passage: Cartooning is most frequently used in making comics, traditionally using ink (especially India ink) with dip pens or ink brushes; mixed media and digital technology have become common. Cartooning techniques such as motion lines and abstract symbols are often employed.

Question: What type of ink is often used in making comics?

Question: What method is mostly used in making comics?

Question: Mixed media and what else are becoming popular for making comics?

Question: Motion lines and what are often used in comics?
Passage: Saint Helena (/ˌseɪnt həˈliːnə/ SAYNT-hə-LEE-nə) is a volcanic tropical island in the South Atlantic Ocean, 4,000 kilometres (2,500 mi) east of Rio de Janeiro and 1,950 kilometres (1,210 mi) west of the Cunene River, which marks the border between Namibia and Angola in southwestern Africa. It is part of the British Overseas Territory of Saint Helena, Ascension and Tristan da Cunha. Saint Helena measures about 16 by 8 kilometres (10 by 5 mi) and has a population of 4,255 (2008 census). It was named after Saint Helena of Constantinople.

Question: What is Saint Helena tropical island named after?

Question: What ocean is Saint Helena located in?

Question: What is the population of Saint Helena?

Question: How big is Saint Helena tropical Island?
Passage: The island was uninhabited when discovered by the Portuguese in 1502. One of the most remote islands in the world, it was for centuries an important stopover for ships sailing to Europe from Asia and South Africa. Napoleon was imprisoned there in exile by the British, as were Dinuzulu kaCetshwayo (for leading a Zulu army against British rule) and more than 5,000 Boers taken prisoner during the Second Boer War.

Question: When was the island discovered?

Question: How many Boers were taken prisoner during the Second Boer War?

Question: Why was Dinuzulu kaCetshwayo imprisoned on the island?
Passage: Between 1791 and 1833, Saint Helena became the site of a series of experiments in conservation, reforestation and attempts to boost rainfall artificially. This environmental intervention was closely linked to the conceptualisation of the processes of environmental change and helped establish the roots of environmentalism.

Question: The roots of what were established on Saint Helena?

Question: What did scientists attempt to boost artificially on Saint Helena?

Question: The environmental intervention was linked to the conceptualization of what process?
Passage: Most historical accounts state that the island was discovered on 21 May 1502 by the Galician navigator João da Nova sailing at the service of Portugal, and that he named it "Santa Helena" after Helena of Constantinople. Another theory holds that the island found by da Nova was actually Tristan da Cunha, 2,430 kilometres (1,510 mi) to the south, and that Saint Helena was discovered by some of the ships attached to the squadron of Estêvão da Gama expedition on 30 July 1503 (as reported in the account of clerk Thomé Lopes). However, a paper published in 2015 reviewed the discovery date and dismissed the 18 August as too late for da Nova to make a discovery and then return to Lisbon by 11 September 1502, whether he sailed from St Helena or Tristan da Cunha. It demonstrates the 21 May is probably a Protestant rather than Catholic or Orthodox feast-day, first quoted in 1596 by Jan Huyghen van Linschoten, who was probably mistaken because the island was discovered several decades before the Reformation and start of Protestantism. The alternative discovery date of 3 May, the Catholic feast-day for the finding of the True Cross by Saint Helena in Jerusalem, quoted by Odoardo Duarte Lopes and Sir Thomas Herbert is suggested as being historically more credible.

Question: What date was the island discovered on?

Question: What navigator discovered the island?

Question: What country was João da Nova doing service for?

Question: What person is Saint Helena Island named after?
Passage: The Portuguese found the island uninhabited, with an abundance of trees and fresh water. They imported livestock, fruit trees and vegetables, and built a chapel and one or two houses. Though they formed no permanent settlement, the island was an important rendezvous point and source of food for ships travelling from Asia to Europe, and frequently sick mariners were left on the island to recover, before taking passage on the next ship to call on the island.

Question: What did the island have an abundance of when discovered?

Question: What was imported by the settlers of the island?

Question: What kind of buildings were built by the settlers?

Question: Who was left on the island to recover when sick?

Question: What was the island a source of for ships travelling from Asia to Europe?
Passage: Englishman Sir Francis Drake probably located the island on the final leg of his circumnavigation of the world (1577–1580). Further visits by other English explorers followed, and, once Saint Helena’s location was more widely known, English ships of war began to lie in wait in the area to attack Portuguese India carracks on their way home. In developing their Far East trade, the Dutch also began to frequent the island. The Portuguese and Spanish soon gave up regularly calling at the island, partly because they used ports along the West African coast, but also because of attacks on their shipping, the desecration of their chapel and religious icons, destruction of their livestock and destruction of plantations by Dutch and English sailors.

Question: Who probably located the island on their final leg of their circumnavigation trip?

Question: What did English ships of war attack on the island?

Question: Who developed a far east trade and began to frequent the island?

Question: Who gave up calling at the island due to attacks on their shipping?
Passage: The Dutch Republic formally made claim to Saint Helena in 1633, although there is no evidence that they ever occupied, colonised or fortified it. By 1651, the Dutch had mainly abandoned the island in favour of their colony at the Cape of Good Hope.

Question: Who claimed Saint Helena in 1633?

Question: What year did the Dutch abandon the island?

Question: Which colony did the Dutch abandon the island for?
Passage: In 1657, Oliver Cromwell granted the English East India Company a charter to govern Saint Helena and the following year the company decided to fortify the island and colonise it with planters. The first governor, Captain John Dutton, arrived in 1659, making Saint Helena one of Britain's oldest colonies outside North America and the Caribbean. A fort and houses were built. After the Restoration of the English monarchy in 1660, the East India Company received a royal charter giving it the sole right to fortify and colonise the island. The fort was renamed James Fort and the town Jamestown, in honour of the Duke of York, later James II of England.

Question: Who was granted a charter to govern Saint Helena?

Question: Who granted the English East company a character to govern the island?

Question: Who was the first governor of Saint Helena?

Question: What year did the first governor arrive to Saint Helena?

Question: Who had the sole right to fortify and colonize the island?
Passage: Between January and May 1673, the Dutch East India Company forcibly took the island, before English reinforcements restored English East India Company control. The company experienced difficulty attracting new immigrants, and sentiments of unrest and rebellion fomented among the inhabitants. Ecological problems, including deforestation, soil erosion, vermin and drought, led Governor Isaac Pyke to suggest in 1715 that the population be moved to Mauritius, but this was not acted upon and the company continued to subsidise the community because of the island's strategic location. A census in 1723 recorded 1,110 people, including 610 slaves.

Question: What did the English East India Company have difficulty attracting?

Question: What problems lead to a suggesting to relocate the population?

Question: What was the name of the governor who suggested relocating the population of Saint Helena?

Question: What was the location that was suggested the population be moved too?

Question: How many slaves were on the island in 1723?