Q: Larisa Grollemond is conducting a comparative study of illuminations in the Mirror of History (Speculum historiale, Miroir historial) as a graduate intern in the Manuscripts Department of the Getty Museum. The massive text, compiled in the 1200s by friar Vincent of Beauvais and translated into French in the 14th century by Jean de Vignay, attempts to compile all of world history from creation to the present into a single source. “If our twenty-first-century way of understanding everything is to put it on the Internet,” she says, “the medieval way of understanding was to create big encyclopedic texts that try to encompass all of human history and biblical history in an organized way.” Larisa, who recently completed her PhD at the University of Pennsylvania with a focus on 15th-century French manuscript culture, is focusing on the Getty volumes’ unique program of illuminations. The French translation of the Miroir historial exists in some 40 known copies, and while the text remains mostly unchanged from copy to copy, the illuminations vary dramatically, both in how scenes are depicted and in which episodes artists choose to depict. Larisa has decided to focus on the evolution of depictions of India and its inhabitants across these various copies, because the Getty copy, which dates to 1475, contains images that are different from earlier illuminated versions. While other copies don’t dedicate more than one or two illustrations to India, the Getty copy has several that draw upon the medieval tradition of the “monstrous peoples” as well as knowledge of geography, materials, and customs newly gained through trade. This work ties into broader scholarly efforts to shed light on globalization in the Middle Ages. “Scholars of medieval art have generally thought of Western Europe as the center and non-European places as the periphery. There has now been a revision of that view,” says Larisa. “These manuscripts provide an interesting glimpse into how late-medieval Europeans made sense of their world, including... According to the above context, answer the following question. How does Larisa feel about her time spent at the University of Pennsylvania?
A: not enough information

Q: Television drama's whole point is to bring you through an often slow start, followed by a complex development to a point where there are two or three potential dénouements before, "Cut!", it is the end of the episode and you will have to await the "right answer" in the following week's show. This post came to me at 10pm last night, on Day 16 of this challenge, after a day of holidaying in London and with my head (and feet) too weary to put finger to touchscreen. Mrs Mc and I had just watched another live instalment of Broadchurch, murder mystery extraordinaire, particularly since in the second series there is no actual fresh murder to investigate. The verdict is about to be given on the accused killer from Series 1 when the inevitable happens... Cue title music. This moment has even gained a moniker in British homes, based on the theme tune to the real masters of the four-times-a-week cliffhanger, London-based soap opera Eastenders. It's call a "ba...ba...ba...ba, ba, ba-ba-ba-ba" (YouTube will provide overseas readers with auditory explanation). Eastenders is such a master of writing in the perfect pace that every 28 minute episode ends with a tantalising screen freeze on the latest shocked face / smirking baddy / confused victim. For really big stories the cliffhanger can last significantly longer. This week, to celebrate the show's 30 year birthday, we will finally find out the answer to a question unanswered for the past 14 months: "Who killed Lucy Beale?" Now, most classrooms do not involve murder, incest, dodgy deals and danger, but "good teaching" encourages a type of pacing that totally ignores the ingredients that have millions in the edges of their seats every day: the good old cliffhanger. In fact, we see teachers giving away the punchline at the beginning: "Today we are learning this:..." According to the above context, answer the following question. When did the author get the answer as to who killed Lucy Beale?
A: after 14 months

Q: Not exactly. I have no problem with divorce since, as others have stated, everyone has their reasons, however there was one person that I dated briefly but upon hearing the reason why he divorced I opted to end the relationship. I remember, we were having brunch and were talking about our past relationships and what happened. He brought up his marriage. I had previously known his divorce but, up until this point, not the reasoning. He told me, straight out, that he had cheated. Now, cheating in itself is one thing. I try not to judge since everyone has a past and I was never always innocent myself, however his attitude about it was what was very off-putting to me. He didn’t seem remotely fazed by what he was telling me at all. There he was, spreading jelly on his toast as he told me about all the women he had cheated on his wife with. He told me about how it had started with a secretary (talk about cliches!) and then graduated to trysts in motels with girls off Tinder all with the same amount of casualness as someone describing how to make an omelette! And when he finally finished the tale of his cheating adventures I asked him if he regretted cheating on his wife with so many women, His answer? “Oh Definitely.” Oh good! So at least he regrets his actions, right? Or he’s at least a little sorry about it> Wrong. “One of the reasons I regret not divorcing her sooner. Had I divorced her sooner, I wouldn’t have to have cheated on her so much. But it is what it is and, well, I was unhappy.” I have no problems with divorced men. I can forgive a man who has cheated in his past. But a man who had no problems cheating so frivolously and, in all honestly, would likely do it again without problems? Nope, not for me. According to the above context, answer the following question. What is probably true about the man?
