Context and question: Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.
What country helped transfer the lute from Arabian to European culture? 
Answer: Sicily
Context and question: In addition, Hegel does believe we can know the structure of God's mind, or ultimate reality. Hegel agrees with Kierkegaard that both reality and humans are incomplete, inasmuch as we are in time, and reality develops through time. But the relation between time and eternity is outside time and this is the "logical structure" that Hegel thinks we can know. Kierkegaard disputes this assertion, because it eliminates the clear distinction between ontology and epistemology. Existence and thought are not identical and one cannot possibly think existence. Thought is always a form of abstraction, and thus not only is pure existence impossible to think, but all forms in existence are unthinkable; thought depends on language, which merely abstracts from experience, thus separating us from lived experience and the living essence of all beings. In addition, because we are finite beings, we cannot possibly know or understand anything that is universal or infinite such as God, so we cannot know God exists, since that which transcends time simultaneously transcends human understanding.
What does not transcend human understanding according to Hegel?
Answer: unanswerable
Context and question: The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.
In what year did Rosenberg refuse to exhibit Cubist works at Galerie de l’Effort Moderne?
Answer:
unanswerable