QUES: At war's end, American, British, and Soviet scientific intelligence teams competed to capture Germany's rocket engineers along with the German rockets themselves and the designs on which they were based. Each of the Allies captured a share of the available members of the German rocket team, but the United States benefited the most with Operation Paperclip, recruiting von Braun and most of his engineering team, who later helped develop the American missile and space exploration programs. The United States also acquired a large number of complete V2 rockets.

The US had captured what type of missiles during Operation Paperclip?
What is the answer?
ANS: V2 rockets
QUES: Better acquaintance with Greek and Roman technical writings also influenced the development of European science (see the history of science in the Renaissance). This was despite what A. C. Crombie (viewing the Renaissance in the 19th-century manner as a chapter in the heroic March of Progress) calls "a backwards-looking admiration for antiquity", in which Platonism stood in opposition to the Aristotelian concentration on the observable properties of the physical world. But Renaissance humanists, who considered themselves as restoring the glory and nobility of antiquity, had no interest in scientific innovation. However, by the mid-to-late 16th century, even the universities, though still dominated by Scholasticism, began to demand that Aristotle be read in accurate texts edited according to the principles of Renaissance philology, thus setting the stage for Galileo's quarrels with the outmoded habits of Scholasticism.

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

Who created a book about comics from a philosophical point of view?
What is the answer?
ANS:
David Carrier