Given the following context:  After booking a boat trip to attend a rave to an island located off the coast of Seattle named "Isla del Morte" ("Island of Death"), two college students, Simon and Greg meet up with three girls: Alicia, Karma and Cynthia. Karma has a crush on Simon, Simon has a crush on Alicia, and Cynthia is Greg's girlfriend. When the five arrive at the dock, they find that they are late and the boat that is supposed to take them to Isla del Morte has already left. A boat captain named Victor Kirk and his first mate Salish offer them a ride on their boat, the Lazarus V (named after the biblical man raised from the dead). As they leave, a policewoman named Jordan Casper tries to stop them from leaving, knowing of Kirk's past as a smuggler, but fails. Arriving at Isla del Morte, they find the rave site messed up and deserted. Alicia, Karma and Simon leave the site to go find anybody around while Cynthia and Greg stay behind. As Greg and Cynthia are about to make out in a tent, the former leaves to urinate. Alone in the tent, Cynthia is killed by a group of zombies. Meanwhile, Alicia, Karma and Simon find a derelict house and as they attempt to investigate the place, they discover Rudy, Liberty and Hugh, who inform them of a zombie attack during the rave. Alicia and Rudy used to date and Liberty was a dancer at the rave. The six leave the house to fetch Greg and Cynthia. Meanwhile, the zombies kill Salish when he is alone in the forest.  answer the following question:  What's the boat the smuggler sails named for?
Ans: the biblical man raised from the dead

Given the following context:  As a predominantly Gaelic society, most Scottish cultural practices throughout this period mirrored closely those of Ireland, or at least those of Ireland with some Pictish borrowings. After David I, the French-speaking kings introduced cultural practices popular in Anglo-Norman England, France and elsewhere. As in all pre-modern societies, storytelling was popular. The English scholar D. D. R. Owen, who specialises in the literature of this era, writes that "Professional storytellers would ply their trade from court to court. Some of them would have been native Scots, no doubt offering legends from the ancient Celtic past performed ... in Gaelic when appropriate, but in French for most of the new nobility". Almost all of these stories are lost, although some have come down in the Gaelic or Scots oral tradition. One form of oral culture extremely well accounted for in this period is genealogy. There are dozens of Scottish genealogies surviving from this era, covering everyone from the Mormaers of Lennox and Moray to the Scottish king himself. Scotland's kings maintained an ollamh righe, a royal high poet who had a permanent place in all medieval Gaelic lordships, and whose purpose was to recite genealogies when needed, for occasions such as coronations.Before the reign of David I, the Scots possessed a flourishing literary elite who regularly produced texts in both Gaelic and Latin that were frequently transmitted to Ireland and elsewhere. Dauvit Broun has shown that a Gaelic literary elite survived in the eastern Scottish lowlands, in places such as Loch Leven and Brechin into the thirteenth century, However, surviving records are predominantly written in Latin, and their authors would usually translate vernacular terms into Latin, so that historians are faced with researching a Gaelic society clothed in Latin terminology. Even names were translated into more common continental forms; for instance, Gilla Brigte became Gilbert, Áed became Hugh, etc. As far as written literature is concerned, there may be more...  answer the following question:  What is the name of the text that survives only from manuscripts preserved in Ireland?
Ans: Irish Nennius

Given the following context:  After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing...  answer the following question:  Where was Moore when he took timed-sketching classes and saw a cast of the Chac Mool?
Ans: Paris