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acf-co24-3-18_7 | For 10 points, name this polyomavirus whose namesake large T antigen was first collected from a culture of infected monkey kidney cells. | [
"simian vacuolating virus 40",
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"SV40"
] | acf-co24-3-18 | 7 | The J-domain of a protein from this virus is critical for fibroblast cell lines to overcome p130/p107 repression and mediates binding with Hsc70. Carboxy-terminal residues on a protein from this virus redundantly control its binding to the innate inhibitor of WAF-1. Since that protein from this virus binds importin-alpha, it is used as a model protein to study nuclear localization signals. Residues 106 to 114 on a protein from this virus contain a key L-X-C-X-E motif that regulates its binding to retinoblastoma protein. The malignant transforming activity of that helicase from this virus has led to its usage in lentiviral cell immortalization kits since it inactivates p53. In the 1950s, this virus was identified as a contaminant in multiple polio vaccines. For 10 points, name this polyomavirus whose namesake large T antigen was first collected from a culture of infected monkey kidney cells. | SV40 [or simian vacuolating virus 40 or simian virus 40] (The first clue describes the J-domain’s role in binding the pRb/E2F complex. The second clue is about LTA’s interaction with p53.) | [
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acf-co24-3-19_1 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” | [
"rule of law"
] | acf-co24-3-19 | 1 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” This three-word phrase names a political ideal that legal bindings apply equally to all people. For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | rule of law | [
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acf-co24-3-19_2 | This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. | [
"rule of law"
] | acf-co24-3-19 | 2 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” This three-word phrase names a political ideal that legal bindings apply equally to all people. For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | rule of law | [
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acf-co24-3-19_3 | Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. | [
"rule of law"
] | acf-co24-3-19 | 3 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” This three-word phrase names a political ideal that legal bindings apply equally to all people. For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | rule of law | [
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acf-co24-3-19_4 | This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. | [
"rule of law"
] | acf-co24-3-19 | 4 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” This three-word phrase names a political ideal that legal bindings apply equally to all people. For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | rule of law | [
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acf-co24-3-19_5 | Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” | [
"rule of law"
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acf-co24-3-19_6 | This three-word phrase names a political ideal that legal bindings apply equally to all people. | [
"rule of law"
] | acf-co24-3-19 | 6 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” This three-word phrase names a political ideal that legal bindings apply equally to all people. For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | rule of law | [
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acf-co24-3-19_7 | For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | [
"rule of law"
] | acf-co24-3-19 | 7 | A paper on this “contested” concept argues that it functions as “magic words” meaning “Hooray for our side!” and cites Judith Shklar’s claim that this ideal is “meaningless thanks to ideological abuse.” This phrase was popularized by A. V. Dicey, who argued that discretion was anathema to this ideal. Ugo Mattei and Laura Nader argue that this ideal legitimized the plunder of colonized nations. This ideal may be present in a society practicing slavery according to scholars like Joseph Raz, who argue that it is procedural and formal. Popular prerequisites for this ideal require government promulgations to be “prospective, open, and clear” and that “natural justice should be observed.” This three-word phrase names a political ideal that legal bindings apply equally to all people. For 10 points, what three-word phrase names an ideal contrasted with the “rule of man?” | rule of law | [
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acf-co24-3-20_1 | Menander and many Late Antique dictionaries use this place’s vibrating bronze cauldrons as an idiom meaning “chatterbox.” | [
"Dodona"
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acf-co24-3-20_2 | The disguised Odysseus tells both Eumaeus and Penelope a tale in which Odysseus is seen traveling to this place by Pheidon, the king of the Thesprotians. | [
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acf-co24-3-20_3 | The Iliad describes men with unwashed feet, the Selloi, serving at this place. | [
"Dodona"
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acf-co24-3-20_4 | The Pelasgians decide to adopt names for their gods after visiting this place in Book 2 of Herodotus, which describes a pair of black doves flying out of Egypt and landing in Libya and this place. | [
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acf-co24-3-20_5 | The Peleiades represented the goddess Dione at this place, where she was seen as the consort of the naios aspect of its central god. | [
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acf-co24-4-1_1 | To study the total energy of these processes, Graeme Bird invented the DSMC method to simulate them on the VSS and VHS models. | [
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acf-co24-4-1_2 | These processes occur at a faster rate than expected in harpoon reactions. | [
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acf-co24-4-1_3 | Yuan Lee and Dudley Herschbach developed a technique in which these processes are generated by collimated beams. | [
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acf-co24-4-1_4 | To calculate the rate of these processes, the square root of “eight times kB times temperature, divided by the product of pi and the reduced mass” is multiplied by sigma. | [
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acf-co24-4-1_5 | These processes occur between A, A-star, and M in the Lindemann mechanism. | [
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acf-co24-4-1_6 | The product of the frequency of these events and the steric factor is the pre-exponential factor. | [
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acf-co24-4-1_7 | These events are “effective” if they occur with the proper orientation and if their energy exceeds the activation energy. | [
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acf-co24-4-1_8 | For 10 points, a theory of reaction kinetics is named for what events in which reactants hit each other? | [
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"collision",
"reactant collisions"
] | acf-co24-4-1 | 8 | To study the total energy of these processes, Graeme Bird invented the DSMC method to simulate them on the VSS and VHS models. These processes occur at a faster rate than expected in harpoon reactions. Yuan Lee and Dudley Herschbach developed a technique in which these processes are generated by collimated beams. To calculate the rate of these processes, the square root of “eight times kB times temperature, divided by the product of pi and the reduced mass” is multiplied by sigma. These processes occur between A, A-star, and M in the Lindemann mechanism. The product of the frequency of these events and the steric factor is the pre-exponential factor. These events are “effective” if they occur with the proper orientation and if their energy exceeds the activation energy. For 10 points, a theory of reaction kinetics is named for what events in which reactants hit each other? | reactant collisions [accept collision frequency or collision theory or effective collisions; accept total collision energy; prompt on chemical reactions until “steric” is read by asking “what specific processes in reactions?”; prompt on crossed molecular beam experiments] (DSMC stands for direct simulation Monte Carlo, VSS stands for variable soft sphere, and VHS stands for variable hard sphere. The term in the fourth sentence is the mean molecule velocity. Sigma is the collision cross section.) | [
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"chemistry"
]
} |
acf-co24-4-2_1 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 1 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-2_2 | This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 2 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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962
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-5
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[
137,
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[
137,
10
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],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-2_3 | In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 3 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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[
842,
962
]
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"category_full": "Social Science - Social Science",
"category_main": "social-science",
"difficulty": "Open",
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[
35,
-5
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55,
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137,
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137,
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[
137,
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[
137,
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[
137,
10
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-2_4 | Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 4 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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564,
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685,
841
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[
842,
962
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"category_full": "Social Science - Social Science",
"category_main": "social-science",
"difficulty": "Open",
"human_buzz_positions": [
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35,
-5
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55,
-5
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[
113,
-5
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-2_5 | In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 5 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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841
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842,
962
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] | {
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"category_full": "Social Science - Social Science",
"category_main": "social-science",
"difficulty": "Open",
"human_buzz_positions": [
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35,
-5
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55,
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113,
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137,
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-2_6 | Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 6 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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842,
962
]
] | {
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"category_full": "Social Science - Social Science",
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35,
-5
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55,
-5
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113,
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-2_7 | For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | [
"focus focus focus focus focus",
"focus phrase",
"focus"
] | acf-co24-4-2 | 7 | Rooth’s squiggle operator constrains this syntactic feature in Hamblin alternative semantics. This syntactic feature’s effect depends on the position of scalar, additive, or exclusive particles like the adverbs even, also, and only. In Rizzi’s left periphery, this usually ungrammaticalized feature is sandwiched between phrases of a similar feature that comments on known information and is paraphrased with “as for.” Information structure describes givenness, topic, and this feature, which presupposes a certain background and fronts similarly to wh-movement. In it-cleft sentences like “it was SAM who buzzed,” this feature, notated by all-caps, is marked by a wider pitch range. Sentences that differ truth-conditionally only in emphasis exemplify this feature’s “contrastive” type, which applies to reduplication in “I like-like her.” For 10 points, the part of an utterance that conveys new information is stressed via what syntactic feature’s F-marking? | focus [accept contrastive focus, contrastive focus reduplication, focus projection, focus domain, focus particle, or focus phrase; prompt on accent, pitch accent, stress, contrastive stress, syntactic stress, sentence stress, prosodic stress, prominence, emphasis until read by asking “what syntactic feature is behind that?”; reject “topic”] | [
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685,
841
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[
842,
962
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137,
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[
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[
137,
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[
137,
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[
137,
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[
137,
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[
137,
10
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[
137,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"social-science"
]
} |
acf-co24-4-3_1 | A proverb that claims that these people are birds, not humans, is analyzed in Nuer Religion by E. E. Evans-Pritchard. | [
"Hero Twins",
"twins",
"twin",
"Twin"
] | acf-co24-4-3 | 1 | A proverb that claims that these people are birds, not humans, is analyzed in Nuer Religion by E. E. Evans-Pritchard. In Voodoo, three-chambered terracotta plates of sweets are offered to loa representing these people, the Marasa. A “pale fox” from Dogon religion who is condemned to wander the earth looking for one of these people gives his name to Marimba Ani’s critique of “European cultural thought,” Yurugu. Upon the death of one of these people, a babalawo will carve a wooden statue of them that is regularly washed and clothed by its parents. These people are depicted in Ibeji sculptures and traditionally given the names “Taiwo” and “Kehinde” in Yoruba culture. These people battle monsters in a motif common to Ho-Chunk and Navajo myth. For 10 points, many African religions attribute divine significance to the birth of what children, who also appear as heroes in the Popol Vuh? | twins [accept Hero Twins; prompt on babies, children, siblings, brothers, sisters, or boys until “children” is read] | [
[
0,
117
],
[
118,
230
],
[
231,
413
],
[
414,
552
],
[
553,
673
],
[
674,
749
],
[
750,
892
]
] | {
"category": "religion",
"category_full": "Religion - Religion",
"category_main": "religion",
"difficulty": "Open",
"human_buzz_positions": [
[
35,
15
],
[
66,
15
],
[
74,
-5
],
[
99,
10
],
[
102,
10
],
[
107,
-5
],
[
109,
10
],
[
111,
10
],
[
112,
10
],
[
137,
10
],
[
138,
10
],
[
140,
10
],
[
146,
10
],
[
148,
10
],
[
148,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"religion"
]
} |
acf-co24-4-3_2 | In Voodoo, three-chambered terracotta plates of sweets are offered to loa representing these people, the Marasa. | [
"Hero Twins",
"twins",
"twin",
"Twin"
] | acf-co24-4-3 | 2 | A proverb that claims that these people are birds, not humans, is analyzed in Nuer Religion by E. E. Evans-Pritchard. In Voodoo, three-chambered terracotta plates of sweets are offered to loa representing these people, the Marasa. A “pale fox” from Dogon religion who is condemned to wander the earth looking for one of these people gives his name to Marimba Ani’s critique of “European cultural thought,” Yurugu. Upon the death of one of these people, a babalawo will carve a wooden statue of them that is regularly washed and clothed by its parents. These people are depicted in Ibeji sculptures and traditionally given the names “Taiwo” and “Kehinde” in Yoruba culture. These people battle monsters in a motif common to Ho-Chunk and Navajo myth. For 10 points, many African religions attribute divine significance to the birth of what children, who also appear as heroes in the Popol Vuh? | twins [accept Hero Twins; prompt on babies, children, siblings, brothers, sisters, or boys until “children” is read] | [
[
0,
117
],
[
118,
230
],
[
231,
413
],
[
414,
552
],
[
553,
673
],
[
674,
749
],
[
750,
892
]
] | {
"category": "religion",
"category_full": "Religion - Religion",
"category_main": "religion",
"difficulty": "Open",
"human_buzz_positions": [
[
35,
15
],
[
66,
15
],
[
74,
-5
],
[
99,
10
],
[
102,
10
],
[
107,
-5
],
[
109,
10
],
[
111,
10
],
[
112,
10
],
[
137,
10
],
[
138,
10
],
[
140,
10
],
[
146,
10
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acf-co24-4-5_1 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. | [
"Lucia",
"Lucie",
"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
"Lucie de Lammermoor in place of Lucia di Lammermoor",
"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 1 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-5_2 | This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. | [
"Lucia",
"Lucie",
"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
"Lucie de Lammermoor in place of Lucia di Lammermoor",
"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 2 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-5_3 | After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” | [
"Lucia",
"Lucie",
"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
"Lucie de Lammermoor in place of Lucia di Lammermoor",
"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 3 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-5_4 | In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” | [
"Lucia",
"Lucie",
"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
"Lucie de Lammermoor in place of Lucia di Lammermoor",
"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 4 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-5_5 | A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. | [
"Lucia",
"Lucie",
"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
"Lucie de Lammermoor in place of Lucia di Lammermoor",
"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 5 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-5_6 | A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. | [
"Lucia",
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"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
"Lucie de Lammermoor in place of Lucia di Lammermoor",
"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 6 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-5_7 | For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | [
"Lucia",
"Lucie",
"Lucia di Lammermoor",
"Lucia’s Mad Scene",
"Lucia’s Mad",
"Spargi d’amaro pianto",
"Spargi d’amaro pianto until read",
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"Lucie Lucia",
"Mad",
"Mon nom s’est fait entendre",
"Il dolce suono",
"the Mad Scene from Lucia di Lammermoor",
"Mad Lucia di Lammermoor"
] | acf-co24-4-5 | 7 | The agitated Allegro vivace section of this aria refers to a figure described in an Act I aria that the French version replaced with the trill-laden aria “Que n’avons-nous d’ailes”. This aria’s cabaletta begins with the seven-note melody C, high A, F, long C, B, long D, C, but is often sung a step lower. After this aria, its singer’s lover commits suicide at his ancestors’ tomb in “Fra poco a me ricovero.” In this aria, a character sings a theme from the Act I duet “Verranno a te sull’aure” to respond to a “celestial harmony.” A 12-minute ovation followed this aria and its cabaletta, “Spargi d’amaro pianto,” at Joan Sutherland’s Met debut. A flute often replaces the glass harmonica in this thinly-orchestrated scene, in which the disheveled soprano stumbles into the Great Hall wearing a white dress stained with Arturo’s blood. For 10 points, the title character fantasizes of being wed to Edgardo in what scene from a Donizetti opera? | Lucia’s Mad Scene [or “Il dolce suono”; or the Mad Scene from Lucia di Lammermoor; accept Lucie de Lammermoor in place of Lucia di Lammermoor; or “Mon nom s’est fait entendre”; accept “Spargi d’amaro pianto” until read; prompt on mad scene] | [
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acf-co24-4-6_1 | A ruler of this city was badly injured after falling off a roof during a sword fight with imaginary opponents and got the nickname “mushroom” for losing a court case against an onerous head tax. | [
"Mexico",
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"Mexico-Tenochtitlan",
"Mexico México Tenochtitlan",
"México",
"Tenochtitlan"
] | acf-co24-4-6 | 1 | A ruler of this city was badly injured after falling off a roof during a sword fight with imaginary opponents and got the nickname “mushroom” for losing a court case against an onerous head tax. As a gift for Paul III, a ruler of this city commissioned a featherwork rendition of The Mass of St. Gregory. Goods from this city “rejoiced [the] heart” of Albrecht Dürer when a royal tour brought them to cities like Brussels. The second “judge-governor” of this city presided over a hemorrhagic “great pestilence” that a 2018 study identified as Salmonella. Jean Fleury captured the treasure of a ruler of this city who was hanged from a ceiba tree in Acalan. Foreign accounts claim that a ruler of this city was stoned to death by his subjects, forcing an occupying army to flee this city via its western causeway on La Noche Triste. For 10 points, name this city ruled by Cuauhtémoc and tlatoani like Moctezuma. | Tenochtitlan [or Mexico City, Ciudad de México, San Juan Tenochtitlan, or Mexico-Tenochtitlan] (The first three governors, or juez gobernadores, clued are Luis de Santa María Cipactzin, Diego de Alvarado Huanitzin, and Diego de San Francisco Tehuetzquititzin. The “great pestilence” is also called cocoliztli.) | [
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acf-co24-4-6_2 | As a gift for Paul III, a ruler of this city commissioned a featherwork rendition of The Mass of St. Gregory. | [
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acf-co24-4-7_5 | Tailored high-intensity light is generated in examples of these devices that use a storage ring to generate synchrotron radiation. | [
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acf-co24-4-7_6 | For 10 points, name these devices in high-energy physics that use electromagnets to propel particles to very high speeds. | [
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"linac",
"betatron",
"collider",
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"linear accelerators",
"betatrons",
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acf-co24-4-8_1 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 1 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-8_2 | This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 2 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-8_3 | A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 3 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-8_4 | This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 4 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-8_5 | This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 5 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-8_6 | A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 6 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-8_7 | For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | [
"The Poetics of Space",
"La Poétique de l’Espace",
"Poétique de l’Espace",
"Poetics of Space"
] | acf-co24-4-8 | 7 | This book argues that “what is secret never has total objectivity” and so “we orient oneirism but we do not accomplish it.” This book states that “the real measure of the being of a poetic image” is found in the “reverberation.” A passage in which Thoreau imagines a woodpecker returning to a tree is discussed in a chapter of this book that repeatedly describes “trembling” in the presence of nests. This book accuses Bergson of causing pain with metaphors in a section on “drawers, chests and wardrobes.” This book says that one “withdraws” when ascending into a garret, “while to go down to the cellar is to dream.” A sequel about “revery” followed this book, which proposes a “study of the sites of our intimate lives” that it terms “topoanalysis.” For 10 points, name this Gaston Bachelard book about the phenomenology of domestic architecture. | The Poetics of Space [or La Poétique de l’Espace] | [
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acf-co24-4-9_1 | One of these characters steals a peach and seduces a “lithe lady” who had turned the speaker down in the poem “I Asked a Thief.” | [
"angel",
"angels"
] | acf-co24-4-9 | 1 | One of these characters steals a peach and seduces a “lithe lady” who had turned the speaker down in the poem “I Asked a Thief.” The narrator shows one of these characters his “eternal lot,” which consists of a room of cannibalistic monkeys whose bones transform into Aristotle’s Analytics, in the fourth “Memorable Fancy.” In that work, one of these characters “sitting at the tomb” with his works as “linen clothes folded up” symbolizes Emanuel Swedenborg. One of these characters wielding a “bright key” tells Tom that “if he’d be a good boy,” he’ll “never want joy” in “The Chimney Sweeper.” A poet proclaimed that Milton “wrote in fetters” when he wrote of these figures, but “at liberty” when he wrote of their counterparts, because he was a “true poet.” For 10 points, William Blake symbolized religious conformity with what figures, the attendants in the first of two places whose “marriage” titles one of his works? | angels (Unattributed clues are from The Marriage of Heaven and Hell.) | [
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acf-co24-4-9_4 | One of these characters wielding a “bright key” tells Tom that “if he’d be a good boy,” he’ll “never want joy” in “The Chimney Sweeper.” | [
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acf-co24-4-9_5 | A poet proclaimed that Milton “wrote in fetters” when he wrote of these figures, but “at liberty” when he wrote of their counterparts, because he was a “true poet.” | [
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acf-co24-4-9_6 | For 10 points, William Blake symbolized religious conformity with what figures, the attendants in the first of two places whose “marriage” titles one of his works? | [
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acf-co24-4-10_1 | This historical region, which lay south of the Jireček Line, was visited by merchants whose safety is promised on the Vetren inscription. | [
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"Thracia, Thrakē,",
"Thracia Thrakē"
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acf-co24-4-10_2 | In art, women from this region are identified by their geometric sleeve tattoos. | [
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acf-co24-4-10_3 | This region’s inhabitants destroyed the Celtic kingdom of Tylis and a series of colonies built at a site called the Nine Ways. | [
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acf-co24-4-10_4 | In this region, the Bessians used a weapon that is described emerging from the Son of Man’s mouth in the Book of Revelation, the single-bladed rhomphaia. | [
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acf-co24-4-10_5 | A god from this region often simply called “the hero” is portrayed in Roman funerary art as its namesake “horseman.” | [
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acf-co24-4-10_6 | This region’s Odrysian Kingdom conquered a colony that Athens used to extract timber from this region, Amphipolis. | [
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"Thracia, Thrakē,",
"Thracia Thrakē"
] | acf-co24-4-10 | 6 | This historical region, which lay south of the Jireček Line, was visited by merchants whose safety is promised on the Vetren inscription. In art, women from this region are identified by their geometric sleeve tattoos. This region’s inhabitants destroyed the Celtic kingdom of Tylis and a series of colonies built at a site called the Nine Ways. In this region, the Bessians used a weapon that is described emerging from the Son of Man’s mouth in the Book of Revelation, the single-bladed rhomphaia. A god from this region often simply called “the hero” is portrayed in Roman funerary art as its namesake “horseman.” This region’s Odrysian Kingdom conquered a colony that Athens used to extract timber from this region, Amphipolis. Murmillo gladiators traditionally battled a type of gladiator named for this region, where Spartacus was born. For 10 points, name this ancient region east of Macedonia in present-day Bulgaria. | Thrace [or Thracia, Thrakē, or Trakiya; accept Thracian horseman or Thraex; prompt on Bulgaria until read, the Balkans, or Southeastern Europe] | [
[
0,
137
],
[
138,
218
],
[
219,
345
],
[
346,
499
],
[
500,
617
],
[
618,
732
],
[
733,
843
],
[
844,
926
]
] | {
"category": "history",
"category_full": "History - Other History",
"category_main": "history-other-history",
"difficulty": "Open",
"human_buzz_positions": [
[
64,
-5
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102,
10
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[
106,
10
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[
107,
10
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[
111,
10
],
[
111,
10
],
[
111,
10
],
[
113,
10
],
[
117,
-5
],
[
119,
-5
],
[
121,
10
],
[
130,
10
],
[
139,
10
],
[
149,
10
],
[
149,
10
],
[
149,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-history"
]
} |
acf-co24-4-10_7 | Murmillo gladiators traditionally battled a type of gladiator named for this region, where Spartacus was born. | [
"Thraex",
"Thracian horseman",
"Thracia",
"Thrakē",
"Trakiya",
"Thrace",
"Thracian",
"Thracia, Thrakē,",
"Thracia Thrakē"
] | acf-co24-4-10 | 7 | This historical region, which lay south of the Jireček Line, was visited by merchants whose safety is promised on the Vetren inscription. In art, women from this region are identified by their geometric sleeve tattoos. This region’s inhabitants destroyed the Celtic kingdom of Tylis and a series of colonies built at a site called the Nine Ways. In this region, the Bessians used a weapon that is described emerging from the Son of Man’s mouth in the Book of Revelation, the single-bladed rhomphaia. A god from this region often simply called “the hero” is portrayed in Roman funerary art as its namesake “horseman.” This region’s Odrysian Kingdom conquered a colony that Athens used to extract timber from this region, Amphipolis. Murmillo gladiators traditionally battled a type of gladiator named for this region, where Spartacus was born. For 10 points, name this ancient region east of Macedonia in present-day Bulgaria. | Thrace [or Thracia, Thrakē, or Trakiya; accept Thracian horseman or Thraex; prompt on Bulgaria until read, the Balkans, or Southeastern Europe] | [
[
0,
137
],
[
138,
218
],
[
219,
345
],
[
346,
499
],
[
500,
617
],
[
618,
732
],
[
733,
843
],
[
844,
926
]
] | {
"category": "history",
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"category_main": "history-other-history",
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[
64,
-5
],
[
102,
10
],
[
106,
10
],
[
107,
10
],
[
111,
10
],
[
111,
10
],
[
111,
10
],
[
113,
10
],
[
117,
-5
],
[
119,
-5
],
[
121,
10
],
[
130,
10
],
[
139,
10
],
[
149,
10
],
[
149,
10
],
[
149,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-history"
]
} |
acf-co24-4-10_8 | For 10 points, name this ancient region east of Macedonia in present-day Bulgaria. | [
"Thraex",
"Thracian horseman",
"Thracia",
"Thrakē",
"Trakiya",
"Thrace",
"Thracian",
"Thracia, Thrakē,",
"Thracia Thrakē"
] | acf-co24-4-10 | 8 | This historical region, which lay south of the Jireček Line, was visited by merchants whose safety is promised on the Vetren inscription. In art, women from this region are identified by their geometric sleeve tattoos. This region’s inhabitants destroyed the Celtic kingdom of Tylis and a series of colonies built at a site called the Nine Ways. In this region, the Bessians used a weapon that is described emerging from the Son of Man’s mouth in the Book of Revelation, the single-bladed rhomphaia. A god from this region often simply called “the hero” is portrayed in Roman funerary art as its namesake “horseman.” This region’s Odrysian Kingdom conquered a colony that Athens used to extract timber from this region, Amphipolis. Murmillo gladiators traditionally battled a type of gladiator named for this region, where Spartacus was born. For 10 points, name this ancient region east of Macedonia in present-day Bulgaria. | Thrace [or Thracia, Thrakē, or Trakiya; accept Thracian horseman or Thraex; prompt on Bulgaria until read, the Balkans, or Southeastern Europe] | [
[
0,
137
],
[
138,
218
],
[
219,
345
],
[
346,
499
],
[
500,
617
],
[
618,
732
],
[
733,
843
],
[
844,
926
]
] | {
"category": "history",
"category_full": "History - Other History",
"category_main": "history-other-history",
"difficulty": "Open",
"human_buzz_positions": [
[
64,
-5
],
[
102,
10
],
[
106,
10
],
[
107,
10
],
[
111,
10
],
[
111,
10
],
[
111,
10
],
[
113,
10
],
[
117,
-5
],
[
119,
-5
],
[
121,
10
],
[
130,
10
],
[
139,
10
],
[
149,
10
],
[
149,
10
],
[
149,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-history"
]
} |
acf-co24-4-11_1 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. | [
"Seppuku",
"Harakiri"
] | acf-co24-4-11 | 1 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | Harakiri [or Seppuku] | [
[
0,
188
],
[
189,
382
],
[
383,
540
],
[
541,
665
],
[
666,
826
],
[
827,
912
]
] | {
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107,
10
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118,
10
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-5
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120,
-5
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131,
-5
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[
132,
10
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134,
10
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158,
10
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-arts"
]
} |
acf-co24-4-11_2 | In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. | [
"Seppuku",
"Harakiri"
] | acf-co24-4-11 | 2 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | Harakiri [or Seppuku] | [
[
0,
188
],
[
189,
382
],
[
383,
540
],
[
541,
665
],
[
666,
826
],
[
827,
912
]
] | {
"category": "fine-arts",
"category_full": "Fine Arts - Other Arts",
"category_main": "fine-arts-other-arts",
"difficulty": "Open",
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88,
-5
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[
107,
10
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118,
-5
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118,
10
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[
120,
-5
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[
120,
-5
],
[
131,
-5
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[
132,
10
],
[
134,
10
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[
158,
10
],
[
159,
0
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[
159,
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[
159,
0
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[
159,
0
],
[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-arts"
]
} |
acf-co24-4-11_3 | This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. | [
"Seppuku",
"Harakiri"
] | acf-co24-4-11 | 3 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | Harakiri [or Seppuku] | [
[
0,
188
],
[
189,
382
],
[
383,
540
],
[
541,
665
],
[
666,
826
],
[
827,
912
]
] | {
"category": "fine-arts",
"category_full": "Fine Arts - Other Arts",
"category_main": "fine-arts-other-arts",
"difficulty": "Open",
"human_buzz_positions": [
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88,
-5
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[
107,
10
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[
118,
-5
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[
118,
10
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[
120,
-5
],
[
120,
-5
],
[
131,
-5
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[
132,
10
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[
134,
10
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[
158,
10
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159,
0
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
0
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[
159,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-arts"
]
} |
acf-co24-4-11_4 | This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. | [
"Seppuku",
"Harakiri"
] | acf-co24-4-11 | 4 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | Harakiri [or Seppuku] | [
[
0,
188
],
[
189,
382
],
[
383,
540
],
[
541,
665
],
[
666,
826
],
[
827,
912
]
] | {
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"category_main": "fine-arts-other-arts",
"difficulty": "Open",
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88,
-5
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[
107,
10
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[
118,
-5
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[
118,
10
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[
120,
-5
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[
120,
-5
],
[
131,
-5
],
[
132,
10
],
[
134,
10
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[
158,
10
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[
159,
0
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[
159,
0
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[
159,
0
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[
159,
0
],
[
159,
0
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[
159,
0
],
[
159,
0
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[
159,
0
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[
159,
0
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[
159,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-arts"
]
} |
acf-co24-4-11_5 | This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. | [
"Seppuku",
"Harakiri"
] | acf-co24-4-11 | 5 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | Harakiri [or Seppuku] | [
[
0,
188
],
[
189,
382
],
[
383,
540
],
[
541,
665
],
[
666,
826
],
[
827,
912
]
] | {
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"category_full": "Fine Arts - Other Arts",
"category_main": "fine-arts-other-arts",
"difficulty": "Open",
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[
88,
-5
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[
107,
10
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[
118,
-5
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[
118,
10
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[
120,
-5
],
[
120,
-5
],
[
131,
-5
],
[
132,
10
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[
134,
10
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[
158,
10
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[
159,
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[
159,
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[
159,
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[
159,
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[
159,
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[
159,
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[
159,
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159,
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[
159,
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159,
10
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],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-arts"
]
} |
acf-co24-4-11_6 | For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | [
"Seppuku",
"Harakiri"
] | acf-co24-4-11 | 6 | Donald Richie noted that this film’s composer repeatedly used a single chord fading into silence, such as right after a man is shocked upon being presented with a set of all-white clothes. In this film, a shot of a man saying, “she wept, and wept, and wept” is followed by a woman stoically examining the face of a bloody corpse, whose pose resembles that of her fever-stricken son. This film’s opening credits play over tracking shots of empty spaces in its central setting, such as a hall in which yak hair adorns an empty suit of armor. This film’s climactic duel in rippling grass on a windy hill is set to aggressive biwa strumming composed by Tōru Takemitsu. This film’s protagonist, who is played by the star of its director’s Human Condition trilogy, narrates flashbacks to a clan waiting for a warrior to behead him. For 10 points, Tatsuya Nakadai starred in what 1962 samurai film by Masaki Kobayashi? | Harakiri [or Seppuku] | [
[
0,
188
],
[
189,
382
],
[
383,
540
],
[
541,
665
],
[
666,
826
],
[
827,
912
]
] | {
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"category_main": "fine-arts-other-arts",
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[
88,
-5
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[
107,
10
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[
118,
-5
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[
118,
10
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[
120,
-5
],
[
120,
-5
],
[
131,
-5
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[
132,
10
],
[
134,
10
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[
158,
10
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[
159,
0
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[
159,
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[
159,
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[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
0
],
[
159,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-arts"
]
} |
acf-co24-4-12_1 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
] | acf-co24-4-12 | 1 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. Third Degree initiation rites attribute this project to Hiram Abiff. A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | building Solomon’s Temple [or building the First Temple or Beit Hamikdash; accept answers that use synonyms of “building”; prompt on King Solomon’s building projects] (The worm is the shamir. The pillars are Boaz and Jachin.) | [
[
0,
159
],
[
160,
310
],
[
311,
379
],
[
380,
491
],
[
492,
652
],
[
653,
758
],
[
759,
857
]
] | {
"category": "mythology",
"category_full": "Mythology - Mythology",
"category_main": "mythology",
"difficulty": "Open",
"human_buzz_positions": [
[
51,
-5
],
[
53,
15
],
[
58,
15
],
[
66,
15
],
[
71,
15
],
[
74,
15
],
[
79,
-5
],
[
93,
10
],
[
105,
-5
],
[
128,
10
],
[
136,
-5
],
[
136,
0
],
[
147,
0
],
[
147,
10
],
[
147,
10
],
[
147,
10
],
[
147,
10
]
],
"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"mythology"
]
} |
acf-co24-4-12_2 | After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
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acf-co24-4-12_3 | Third Degree initiation rites attribute this project to Hiram Abiff. | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
] | acf-co24-4-12 | 3 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. Third Degree initiation rites attribute this project to Hiram Abiff. A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | building Solomon’s Temple [or building the First Temple or Beit Hamikdash; accept answers that use synonyms of “building”; prompt on King Solomon’s building projects] (The worm is the shamir. The pillars are Boaz and Jachin.) | [
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acf-co24-4-12_4 | A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
] | acf-co24-4-12 | 4 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. Third Degree initiation rites attribute this project to Hiram Abiff. A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | building Solomon’s Temple [or building the First Temple or Beit Hamikdash; accept answers that use synonyms of “building”; prompt on King Solomon’s building projects] (The worm is the shamir. The pillars are Boaz and Jachin.) | [
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acf-co24-4-12_5 | The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
] | acf-co24-4-12 | 5 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. Third Degree initiation rites attribute this project to Hiram Abiff. A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | building Solomon’s Temple [or building the First Temple or Beit Hamikdash; accept answers that use synonyms of “building”; prompt on King Solomon’s building projects] (The worm is the shamir. The pillars are Boaz and Jachin.) | [
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acf-co24-4-12_6 | Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
] | acf-co24-4-12 | 6 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. Third Degree initiation rites attribute this project to Hiram Abiff. A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | building Solomon’s Temple [or building the First Temple or Beit Hamikdash; accept answers that use synonyms of “building”; prompt on King Solomon’s building projects] (The worm is the shamir. The pillars are Boaz and Jachin.) | [
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acf-co24-4-12_7 | For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | [
"building Solomon’s Temple",
"Temple",
"Beit Hamikdash",
"building the First Temple",
"answers that use synonyms of building"
] | acf-co24-4-12 | 7 | A leader of this project was buried under a sprig of acacia by Jubela, Jubelo, and Jubelum after they murdered him for refusing to divulge the “master’s word.” After being stolen from the Lord of the Sea for use in this project, an extremely destructive worm was kept in a lead box filled with barley and wool. Third Degree initiation rites attribute this project to Hiram Abiff. A pair of pillars erected during this project are labeled “B” and “J” on a tarot card of the Rider–Waite deck. The beings working on this project realized they weren’t all-knowing when a termite chewed through their boss’s staff, revealing that he’d been dead for a year. Since he forced Asmodeus to work on this project, the monarch who led it titles a “greater key” grimoire. For 10 points, Freemasons mythologize what religious building project commissioned by a wise king? | building Solomon’s Temple [or building the First Temple or Beit Hamikdash; accept answers that use synonyms of “building”; prompt on King Solomon’s building projects] (The worm is the shamir. The pillars are Boaz and Jachin.) | [
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acf-co24-4-13_1 | This property is progressively reduced in experiments whose results are displayed on vector component plots named for J. D. A. Zijderveld. | [
"magnetism",
"paleomagnetism",
"magnetite",
"superparamagnetism",
"remanence",
"antiferromagnetism",
"remanent magnetization",
"magnetization",
"magnetic",
"residual magnetism",
"ferrimagnetism",
"ferromagnetism"
] | acf-co24-4-13 | 1 | This property is progressively reduced in experiments whose results are displayed on vector component plots named for J. D. A. Zijderveld. The high strength of one form of this phenomenon is indicated by Koenigsberger ratios above one. Whether this property’s namesake “fabric” appears linear or planar is used to classify grains as MD or SD. Materials with one form of this property obey the laws of “reciprocity,” “independence,” and “additivity” according to the Thellier laws. Rocks with this property are used to identify APWP tracks, which have led to the discovery of events like the Brunhes–Matuyama event. Layers of chert alternate with layers of a mineral with this property in banded iron formations. The Vine–Matthews–Morley hypothesis predicted the presence of symmetrical “stripes” of rock with this property near mid-ocean ridges due to seafloor spreading. For 10 points, give this property that lends its name to the iron ore with chemical formula Fe3O4. | magnetism [or magnetic; or paleomagnetism; accept magnetite; accept ferromagnetism or ferrimagnetism or antiferromagnetism or superparamagnetism; accept remanence or remanent magnetization or residual magnetism; prompt on RM; reject “diamagnetism” or “paramagnetism”] | [
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acf-co24-4-13_2 | The high strength of one form of this phenomenon is indicated by Koenigsberger ratios above one. | [
"magnetism",
"paleomagnetism",
"magnetite",
"superparamagnetism",
"remanence",
"antiferromagnetism",
"remanent magnetization",
"magnetization",
"magnetic",
"residual magnetism",
"ferrimagnetism",
"ferromagnetism"
] | acf-co24-4-13 | 2 | This property is progressively reduced in experiments whose results are displayed on vector component plots named for J. D. A. Zijderveld. The high strength of one form of this phenomenon is indicated by Koenigsberger ratios above one. Whether this property’s namesake “fabric” appears linear or planar is used to classify grains as MD or SD. Materials with one form of this property obey the laws of “reciprocity,” “independence,” and “additivity” according to the Thellier laws. Rocks with this property are used to identify APWP tracks, which have led to the discovery of events like the Brunhes–Matuyama event. Layers of chert alternate with layers of a mineral with this property in banded iron formations. The Vine–Matthews–Morley hypothesis predicted the presence of symmetrical “stripes” of rock with this property near mid-ocean ridges due to seafloor spreading. For 10 points, give this property that lends its name to the iron ore with chemical formula Fe3O4. | magnetism [or magnetic; or paleomagnetism; accept magnetite; accept ferromagnetism or ferrimagnetism or antiferromagnetism or superparamagnetism; accept remanence or remanent magnetization or residual magnetism; prompt on RM; reject “diamagnetism” or “paramagnetism”] | [
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"question_set": "2024-chicago-open",
"subcategory": [
"other-science-(earth-science)"
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acf-co24-4-13_3 | Whether this property’s namesake “fabric” appears linear or planar is used to classify grains as MD or SD. | [
"magnetism",
"paleomagnetism",
"magnetite",
"superparamagnetism",
"remanence",
"antiferromagnetism",
"remanent magnetization",
"magnetization",
"magnetic",
"residual magnetism",
"ferrimagnetism",
"ferromagnetism"
] | acf-co24-4-13 | 3 | This property is progressively reduced in experiments whose results are displayed on vector component plots named for J. D. A. Zijderveld. The high strength of one form of this phenomenon is indicated by Koenigsberger ratios above one. Whether this property’s namesake “fabric” appears linear or planar is used to classify grains as MD or SD. Materials with one form of this property obey the laws of “reciprocity,” “independence,” and “additivity” according to the Thellier laws. Rocks with this property are used to identify APWP tracks, which have led to the discovery of events like the Brunhes–Matuyama event. Layers of chert alternate with layers of a mineral with this property in banded iron formations. The Vine–Matthews–Morley hypothesis predicted the presence of symmetrical “stripes” of rock with this property near mid-ocean ridges due to seafloor spreading. For 10 points, give this property that lends its name to the iron ore with chemical formula Fe3O4. | magnetism [or magnetic; or paleomagnetism; accept magnetite; accept ferromagnetism or ferrimagnetism or antiferromagnetism or superparamagnetism; accept remanence or remanent magnetization or residual magnetism; prompt on RM; reject “diamagnetism” or “paramagnetism”] | [
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"packet": "Packet D. Bollinger + Kelleher + Wang",
"question_set": "2024-chicago-open",
"subcategory": [
"other-science-(earth-science)"
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