Under the Antiterrorism and Effective Death Penalty Act of 1996, a state prisoner is ordinarily only allowed one suit for habeas corpus in federal court. If the federal courts refuse to issue a writ of habeas corpus, an execution date may be set. In recent times, however, prisoners have postponed execution through a final round of federal litigation using the Civil Rights Act of 1871 — codified at 42 U.S.C. § 1983 — which allows people to bring lawsuits against state actors to protect their federal constitutional and statutory rights.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"):  What is the US Code citation for the Civil Rights Act of 1971?
Ah, so.. unanswerable

It was not until 9 June 1982, with the Circulaire sur la langue et la culture régionales en Alsace (Memorandum on regional language and culture in Alsace) issued by the Vice-Chancellor of the Académie Pierre Deyon, that the teaching of German in primary schools in Alsace really began to be given more official status. The Ministerial Memorandum of 21 June 1982, known as the Circulaire Savary, introduced financial support, over three years, for the teaching of regional languages in schools and universities. This memorandum was, however, implemented in a fairly lax manner.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): When was the Vice-Chancellor elected?
Ah, so.. unanswerable

The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): What happened to Cubism before 1918?
Ah, so..
unanswerable