id
stringlengths 24
24
| title
stringclasses 442
values | context
stringlengths 151
3.71k
| question
stringlengths 12
270
| answers
dict |
|---|---|---|---|---|
5acf8e0f77cf76001a685233
|
Comics
|
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.
|
Storyboards are not used a lot by what?
|
{
"answer_start": [],
"text": []
}
|
5acf8e0f77cf76001a685234
|
Comics
|
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.
|
Scripts are used a lot by what?
|
{
"answer_start": [],
"text": []
}
|
5acf8e0f77cf76001a685235
|
Comics
|
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.
|
Storyboards are considered what?
|
{
"answer_start": [],
"text": []
}
|
5acf8e0f77cf76001a685236
|
Comics
|
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.
|
A book without pictures with no captions that tell a story are called what?
|
{
"answer_start": [],
"text": []
}
|
56e038cc7aa994140058e3b5
|
Comics
|
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.
|
What has not been reached as far as defining comics is concerned?
|
{
"answer_start": [
60
],
"text": [
"consensus"
]
}
|
56e038cc7aa994140058e3b6
|
Comics
|
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.
|
R. C. Harvey, Will Eisner and others are considered to be comic what?
|
{
"answer_start": [
209
],
"text": [
"Theorists"
]
}
|
56e038cc7aa994140058e3b7
|
Comics
|
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.
|
What are there prominent examples of in comic history?
|
{
"answer_start": [
393
],
"text": [
"pantomime comics"
]
}
|
56e038cc7aa994140058e3b8
|
Comics
|
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.
|
Comic critics, such as McCloud, stressed that sequences of what should be primary?
|
{
"answer_start": [
346
],
"text": [
"images"
]
}
|
56e038cc7aa994140058e3b9
|
Comics
|
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.
|
What century had forgotten comic forms rediscovered?
|
{
"answer_start": [
572
],
"text": [
"20th"
]
}
|
5acf8e7077cf76001a685258
|
Comics
|
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.
|
What has been reached as far as defining comics is concerned?
|
{
"answer_start": [],
"text": []
}
|
5acf8e7077cf76001a685259
|
Comics
|
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.
|
R. C. Harvey, Will Eisner and others are not considered to be comic what?
|
{
"answer_start": [],
"text": []
}
|
5acf8e7077cf76001a68525a
|
Comics
|
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.
|
What aren't there prominent examples of in comic history?
|
{
"answer_start": [],
"text": []
}
|
5acf8e7077cf76001a68525b
|
Comics
|
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.
|
Comic critics, such as McCloud, stressed that sequences of what should be secondary?
|
{
"answer_start": [],
"text": []
}
|
5acf8e7077cf76001a68525c
|
Comics
|
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.
|
What century had remembered comic forms rediscovered?
|
{
"answer_start": [],
"text": []
}
|
56e039097aa994140058e3bf
|
Comics
|
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.
|
In the 1840s, Töpffer wrote theories about whose work?
|
{
"answer_start": [
57
],
"text": [
"his own"
]
}
|
56e039097aa994140058e3c0
|
Comics
|
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.
|
Who introduced the term "multiframe"?
|
{
"answer_start": [
423
],
"text": [
"Henri Vanlier"
]
}
|
56e039097aa994140058e3c2
|
Comics
|
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.
|
Who used a semiotics method to study comics in the 1970s?
|
{
"answer_start": [
200
],
"text": [
"Pierre Fresnault-Deruelle"
]
}
|
56e039097aa994140058e3c3
|
Comics
|
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.
|
Who used cognitive science to learn how people understand comics?
|
{
"answer_start": [
1096
],
"text": [
"Neil Cohn"
]
}
|
5acf902777cf76001a685288
|
Comics
|
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.
|
In the 1940s, Töpffer wrote theories about whose work?
|
{
"answer_start": [],
"text": []
}
|
5acf902777cf76001a685289
|
Comics
|
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.
|
Who rejected the term "multiframe"?
|
{
"answer_start": [],
"text": []
}
|
5acf902777cf76001a68528a
|
Comics
|
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.
|
Who never used a semiotics method to study comics in the 1970s
|
{
"answer_start": [],
"text": []
}
|
5acf902777cf76001a68528b
|
Comics
|
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.
|
Who used a semiotics method to study comics in the 1980s
|
{
"answer_start": [],
"text": []
}
|
5acf902777cf76001a68528c
|
Comics
|
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.
|
Who used cognitive science to learn how dogs understand comics?
|
{
"answer_start": [],
"text": []
}
|
56e039947aa994140058e3d3
|
Comics
|
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.
|
What Russian word is used for comics?
|
{
"answer_start": [
98
],
"text": [
"komiks"
]
}
|
56e039947aa994140058e3d4
|
Comics
|
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.
|
What German word is used for comics?
|
{
"answer_start": [
41
],
"text": [
"comics"
]
}
|
56e039947aa994140058e3d5
|
Comics
|
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.
|
What Chinese word was derived from the Japanese word manga?
|
{
"answer_start": [
154
],
"text": [
"manhua"
]
}
|
56e039947aa994140058e3d6
|
Comics
|
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.
|
What Korean word was derived from the Japanese word for manga?
|
{
"answer_start": [
176
],
"text": [
"manhwa"
]
}
|
5acf95a777cf76001a685380
|
Comics
|
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.
|
What Russian word isn't used for comics?
|
{
"answer_start": [],
"text": []
}
|
5acf95a777cf76001a685381
|
Comics
|
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.
|
What Prussian word is used for comics?
|
{
"answer_start": [],
"text": []
}
|
5acf95a777cf76001a685382
|
Comics
|
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.
|
What German word isn't used for comics?
|
{
"answer_start": [],
"text": []
}
|
5acf95a777cf76001a685383
|
Comics
|
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.
|
What Chinese word wasn't derived from the Japanese word manga?
|
{
"answer_start": [],
"text": []
}
|
5acf95a777cf76001a685384
|
Comics
|
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.
|
What Korean word wasn't derived from the Japanese word for manga?
|
{
"answer_start": [],
"text": []
}
|
56e03ae1231d4119001abfff
|
Comics
|
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.
|
The word comic comes from the humorous pieces found where?
|
{
"answer_start": [
105
],
"text": [
"newspaper comic strips"
]
}
|
56e03ae1231d4119001ac000
|
Comics
|
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.
|
Comic is used for what other kind of work other than humorous works?
|
{
"answer_start": [
171
],
"text": [
"non-humorous"
]
}
|
56e03ae1231d4119001ac001
|
Comics
|
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.
|
Comic books are what type of books?
|
{
"answer_start": [
329
],
"text": [
"periodicals"
]
}
|
56e03ae1231d4119001ac002
|
Comics
|
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.
|
What is the term that the English use for the comics out of Japan?
|
{
"answer_start": [
466
],
"text": [
"manga"
]
}
|
56e03ae1231d4119001ac003
|
Comics
|
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.
|
What is the term that the English use for the comics that come out of Belgian?
|
{
"answer_start": [
496
],
"text": [
"bandes dessinées"
]
}
|
5acf955a77cf76001a68536c
|
Comics
|
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.
|
The word comic comes from the nonhumorous pieces found where?
|
{
"answer_start": [],
"text": []
}
|
5acf955a77cf76001a68536d
|
Comics
|
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.
|
Comic is used for what other kind of work especially humorous works?
|
{
"answer_start": [],
"text": []
}
|
5acf955a77cf76001a68536e
|
Comics
|
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.
|
Comic books aren't what type of books?
|
{
"answer_start": [],
"text": []
}
|
5acf955a77cf76001a68536f
|
Comics
|
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.
|
What is the term that the French use for the comics out of Japan?
|
{
"answer_start": [],
"text": []
}
|
5acf955a77cf76001a685370
|
Comics
|
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.
|
What is the term that the English use for the comics that don't come out of Belgian?
|
{
"answer_start": [],
"text": []
}
|
56e03b7f7aa994140058e3e4
|
Comics
|
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.
|
Though one person typically creates the comic, there are usually a number of what involved in actually designing it?
|
{
"answer_start": [
121
],
"text": [
"specialists"
]
}
|
56e03b7f7aa994140058e3e5
|
Comics
|
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.
|
What is a person called who does the initial pencil work for the artwork?
|
{
"answer_start": [
367
],
"text": [
"penciller"
]
}
|
56e03b7f7aa994140058e3e6
|
Comics
|
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.
|
What does an inker do?
|
{
"answer_start": [
428
],
"text": [
"finishes the artwork in ink"
]
}
|
5acf950277cf76001a685352
|
Comics
|
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.
|
Though one person always creates the comic, there are usually a number of what involved in actually designing it?
|
{
"answer_start": [],
"text": []
}
|
5acf950277cf76001a685353
|
Comics
|
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.
|
What is a person called who doesn't do the initial pencil work for the artwork?
|
{
"answer_start": [],
"text": []
}
|
5acf950277cf76001a685354
|
Comics
|
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.
|
What is a person called who does the initial pen work for the artwork?
|
{
"answer_start": [],
"text": []
}
|
5acf950277cf76001a685355
|
Comics
|
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.
|
What does an linker do?
|
{
"answer_start": [],
"text": []
}
|
5acf950277cf76001a685356
|
Comics
|
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.
|
What doesn't an inker do?
|
{
"answer_start": [],
"text": []
}
|
56e03c3c7aa994140058e3ed
|
Comics
|
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.
|
What are the individual images with action called in comics?
|
{
"answer_start": [
0
],
"text": [
"Panels"
]
}
|
56e03c3c7aa994140058e3ee
|
Comics
|
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.
|
Narrative is placed into panels using what?
|
{
"answer_start": [
169
],
"text": [
"encapsulation"
]
}
|
56e03c3c7aa994140058e3ef
|
Comics
|
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.
|
Who puts the panels together using closure?
|
{
"answer_start": [
184
],
"text": [
"The reader"
]
}
|
56e03c3c7aa994140058e3f0
|
Comics
|
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.
|
Timing and pace of comics is made by adjusting size, shape and what of panels?
|
{
"answer_start": [
378
],
"text": [
"arrangement"
]
}
|
56e03c3c7aa994140058e3f1
|
Comics
|
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.
|
When a comic panel has events that are not at the same time the panel is considered to be what?
|
{
"answer_start": [
483
],
"text": [
"asynchronous"
]
}
|
5acf933f77cf76001a6852f2
|
Comics
|
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.
|
What are the multiple images with action called in comics?
|
{
"answer_start": [],
"text": []
}
|
5acf933f77cf76001a6852f3
|
Comics
|
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.
|
Narrative isn't placed into panels using what?
|
{
"answer_start": [],
"text": []
}
|
5acf933f77cf76001a6852f4
|
Comics
|
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.
|
Who takes the panels apart using closure?
|
{
"answer_start": [],
"text": []
}
|
5acf933f77cf76001a6852f5
|
Comics
|
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.
|
Timing and pace of comics is made by not adjusting size, shape and what of panels?
|
{
"answer_start": [],
"text": []
}
|
5acf933f77cf76001a6852f6
|
Comics
|
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.
|
When a comic panel has events that are at the same time the panel is considered to be what?
|
{
"answer_start": [],
"text": []
}
|
56e03c7e231d4119001ac00b
|
Comics
|
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.
|
What association with comics is strong?
|
{
"answer_start": [
94
],
"text": [
"Speech balloons"
]
}
|
56e03c7e231d4119001ac00c
|
Comics
|
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.
|
The presence of a single speech balloon in an image turns it into what?
|
{
"answer_start": [
37
],
"text": [
"comics"
]
}
|
56e03c7e231d4119001ac00d
|
Comics
|
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.
|
What type of words are used to do sound effects in comics?
|
{
"answer_start": [
536
],
"text": [
"onomatopoeia"
]
}
|
5acf93b577cf76001a685306
|
Comics
|
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.
|
What association with comics is weak?
|
{
"answer_start": [],
"text": []
}
|
5acf93b577cf76001a685307
|
Comics
|
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.
|
What disassociation with comics is strong?
|
{
"answer_start": [],
"text": []
}
|
5acf93b577cf76001a685308
|
Comics
|
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.
|
The presence of a double speech balloon in an image turns it into what?
|
{
"answer_start": [],
"text": []
}
|
5acf93b577cf76001a685309
|
Comics
|
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.
|
The non-presence of a single speech balloon in an image turns it into what?
|
{
"answer_start": [],
"text": []
}
|
5acf93b577cf76001a68530a
|
Comics
|
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.
|
What type of words are used to do word effects in comics?
|
{
"answer_start": [],
"text": []
}
|
56e03cc27aa994140058e3f7
|
Comics
|
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.
|
What type of ink is often used in making comics?
|
{
"answer_start": [
89
],
"text": [
"India ink"
]
}
|
56e03cc27aa994140058e3f8
|
Comics
|
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.
|
What method is mostly used in making comics?
|
{
"answer_start": [
0
],
"text": [
"Cartooning"
]
}
|
56e03cc27aa994140058e3f9
|
Comics
|
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.
|
Mixed media and what else are becoming popular for making comics?
|
{
"answer_start": [
146
],
"text": [
"digital technology"
]
}
|
56e03cc27aa994140058e3fa
|
Comics
|
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.
|
Motion lines and what are often used in comics?
|
{
"answer_start": [
232
],
"text": [
"abstract symbols"
]
}
|
5acf940d77cf76001a685324
|
Comics
|
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.
|
What type of ink is never used in making comics?
|
{
"answer_start": [],
"text": []
}
|
5acf940d77cf76001a685325
|
Comics
|
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.
|
What type of ink is often used in making comedies?
|
{
"answer_start": [],
"text": []
}
|
5acf940d77cf76001a685326
|
Comics
|
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.
|
What method is least used in making comics?
|
{
"answer_start": [],
"text": []
}
|
5acf940d77cf76001a685327
|
Comics
|
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.
|
Mixed media and what else are becoming unpopular for making comics?
|
{
"answer_start": [],
"text": []
}
|
5acf940d77cf76001a685328
|
Comics
|
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.
|
Motion lines and what are never used in comics?
|
{
"answer_start": [],
"text": []
}
|
5acf92b877cf76001a6852e8
|
Comics
|
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement."
|
The term comedies refers to what?
|
{
"answer_start": [],
"text": []
}
|
5acf92b877cf76001a6852e9
|
Comics
|
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement."
|
The term comics doesn't refer to what?
|
{
"answer_start": [],
"text": []
}
|
5acf92b877cf76001a6852ea
|
Comics
|
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement."
|
When comic appears as a countable verb it refers to what?
|
{
"answer_start": [],
"text": []
}
|
5acf92b877cf76001a6852eb
|
Comics
|
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement."
|
When comedies appears as a countable noun it refers to what?
|
{
"answer_start": [],
"text": []
}
|
5acf92b877cf76001a6852ec
|
Comics
|
The term comics refers to the comics medium when used as an uncountable noun and thus takes the singular: "comics is a medium" rather than "comics are a medium". When comic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comics are in the basement."
|
When comic doesn't appear as a countable noun it refers to what?
|
{
"answer_start": [],
"text": []
}
|
56e02701231d4119001abf5b
|
Saint_Helena
|
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.
|
What is Saint Helena tropical island named after?
|
{
"answer_start": [
509
],
"text": [
"Saint Helena of Constantinople"
]
}
|
56e02701231d4119001abf5c
|
Saint_Helena
|
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.
|
What ocean is Saint Helena located in?
|
{
"answer_start": [
86
],
"text": [
"South Atlantic Ocean"
]
}
|
56e02701231d4119001abf5d
|
Saint_Helena
|
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.
|
What is the population of Saint Helena?
|
{
"answer_start": [
469
],
"text": [
"4,255"
]
}
|
56e02701231d4119001abf5e
|
Saint_Helena
|
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.
|
How big is Saint Helena tropical Island?
|
{
"answer_start": [
413
],
"text": [
"16 by 8 kilometres"
]
}
|
56e0285a231d4119001abf63
|
Saint_Helena
|
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.
|
When was the island discovered?
|
{
"answer_start": [
64
],
"text": [
"1502"
]
}
|
56e0285a231d4119001abf64
|
Saint_Helena
|
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.
|
How many Boers were taken prisoner during the Second Boer War?
|
{
"answer_start": [
349
],
"text": [
"more than 5,000"
]
}
|
56e0285a231d4119001abf66
|
Saint_Helena
|
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.
|
Why was Dinuzulu kaCetshwayo imprisoned on the island?
|
{
"answer_start": [
303
],
"text": [
"leading a Zulu army against British rule"
]
}
|
56e029737aa994140058e2d7
|
Saint_Helena
|
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.
|
The roots of what were established on Saint Helena?
|
{
"answer_start": [
306
],
"text": [
"environmentalism"
]
}
|
56e029737aa994140058e2d8
|
Saint_Helena
|
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.
|
What did scientists attempt to boost artificially on Saint Helena?
|
{
"answer_start": [
132
],
"text": [
"rainfall"
]
}
|
56e029737aa994140058e2d9
|
Saint_Helena
|
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.
|
The environmental intervention was linked to the conceptualization of what process?
|
{
"answer_start": [
251
],
"text": [
"environmental change"
]
}
|
56e02aba7aa994140058e2e7
|
Saint_Helena
|
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.
|
What date was the island discovered on?
|
{
"answer_start": [
65
],
"text": [
"21 May 1502"
]
}
|
56e02aba7aa994140058e2e8
|
Saint_Helena
|
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.
|
What navigator discovered the island?
|
{
"answer_start": [
103
],
"text": [
"João da Nova"
]
}
|
56e02aba7aa994140058e2e9
|
Saint_Helena
|
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.
|
What country was João da Nova doing service for?
|
{
"answer_start": [
142
],
"text": [
"Portugal"
]
}
|
56e02aba7aa994140058e2ea
|
Saint_Helena
|
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.
|
What person is Saint Helena Island named after?
|
{
"answer_start": [
194
],
"text": [
"Helena of Constantinople"
]
}
|
56e02b8a7aa994140058e2ef
|
Saint_Helena
|
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.
|
What did the island have an abundance of when discovered?
|
{
"answer_start": [
66
],
"text": [
"trees and fresh water."
]
}
|
56e02b8a7aa994140058e2f0
|
Saint_Helena
|
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.
|
What was imported by the settlers of the island?
|
{
"answer_start": [
103
],
"text": [
"livestock, fruit trees and vegetables"
]
}
|
56e02b8a7aa994140058e2f1
|
Saint_Helena
|
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.
|
What kind of buildings were built by the settlers?
|
{
"answer_start": [
152
],
"text": [
"a chapel and one or two houses."
]
}
|
56e02b8a7aa994140058e2f2
|
Saint_Helena
|
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.
|
Who was left on the island to recover when sick?
|
{
"answer_start": [
354
],
"text": [
"mariners"
]
}
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.