BCE period – Protohistory

John sitter inspärrad på en anstalt i London. Men han känner till sanningen. Detta är egentligen inte London, utan en snillrikt konstruerad kopia av världsstaden. Och det är hans uppgift att så snart som möjligt ta sig ut därifrån, så att framtiden återigen kan återgå till vad den en gång har varit ...Samtidigt börjar märkliga ting att inträffa i det förflutna. Rymdskepp landar i den förhistoriska eran och saker som inte borde vara inom vissa tidsperioder dyker omärkligt upp. Historien förändras, och det är den främmande makten på Pluto som styr i skedet ...Detta är en äventyrsfylld och filosofisk science fiction-roman som ställer svåra frågor om kunskap och tid.Bertil Mårtensson (1945-2018) var en svensk författare och filosof från Malmö. Han är framför allt känd för sina fantasirika genreromaner, där flera av hans fantasyromaner i synnerhet sticker ut.

Historien berättas av segraren. Så brukar det heta, men hur vet man att historien som berättas är sann? Det fanns en gång föreställningar om att drakar och troll vandrade genom våra landskap, saker som numer anses vara förlegat trams. Men tänk om det faktiskt stämmer? Tänk om historieskrivningen bara har blottat ut denna del av världen?Kring ett runt bord på ett sunkigt värdshus sitter ett par gamla män. De konfererar om hur världen ser ut, om hur historien långsamt rör sig framåt. Men det är något med dem – trots deras trådslitna och oviktiga uppenbarelse – som bär på tyngd. Det är som om deras samtal faktiskt styr historiens utkomst ...Samtidigt gryr en ny dag, en dag som förmörkas av att svarta moln tornar upp sig över himlen ...Detta är en mystisk och spännande fantasyberättelse från en av Sveriges främsta författare inom genren.Bertil Mårtensson (1945-2018) var en svensk författare och filosof från Malmö. Han är framför allt känd för sina fantasirika genreromaner, där flera av hans fantasyromaner i synnerhet sticker ut.

Gorgias of Leontini, a famous teacher of rhetoric, has come to Athens to recruit students, promising to teach them how to become leaders in politics and business. A group has gathered at Callicles' house to hear Gorgias demonstrate the power of his art. This dialogue blends comic and serious discussion of the best life, providing a penetrating examination of ethics. Is it better to suffer evil or to do evil? Is it better to do something wrong and avoid being caught or to be caught and punished? Is pleasure the same as goodness? As the characters in the dialogue pursue these questions, the foundations of ethics and the nature of the good life come to light.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Socrates questions Ion, an actor who just won a major prize, about his ability to interpret the epic poetry of Homer. How does an actor, a poet, or any other artist create? Is it by knowing? Is it by inspiration? As the dialogue proceeds, the nature of human creativity emerges as a mysterious process and an unsolved puzzle. Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

After Socrates is sentenced to death by the Athenian court, his friend Crito comes to the prison to help him escape and go to another country. Socrates responds by saying that he would accept Crito’s offer only if he can be convinced that it is right and just to do so. This dialogue is not only about Socrates’ particular choice but also about the very essence of law and community.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Perception, memory, truth, and knowledge all play major roles in this dialogue. What is remarkable about Plato’s treatment of those ideas is how contemporary are both the questions and the answers he puts in the mouths of his characters. Socrates is adamant in asserting that he does not know the answers but that his function is simply to help formulate and critically examine the doctrines presented by others. While he was still alive, the great sophist Protagoras was a friend of Theodorus who has subsequently given up abstract philosophical inquiry and now teaches mathematics, astronomy, and logic to young people such as Theaetetus, the most gifted student he has ever encountered. Socrates examines young Theaetetus to determine whether or not what he has learned from Theodorus provides wisdom and truth. The analogies and metaphors that emerge during their conversation foreshadow the theories of mind favored by contemporary cognitive scientists, but Plato’s dialogue also raises serious doubts about the cogency of those explanations. Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

In Euthyphro, Socrates is on his way to the court where he must defend himself against serious charges brought by religious and political authorities. On the way, he meets Euthyphro, an expert on religious matters, who has come to prosecute his own father. Socrates questions Euthyphro’s claim that religion serves as the basis for ethics. Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Socrates is on trial for his life. He is charged with impiety and corrupting young people. He presents his own defense, explaining why he has devoted his life to challenging the most powerful and important people in the Greek world. The reason is that rich and famous politicians, priests, poets, and a host of others pretend to know what is good, true, holy, and beautiful, but when Socrates questions them they are shown to be foolish rather than wise.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Hippias of Elis travels throughout the Greek world practicing and teaching the art of making beautiful speeches. On a rare visit to Athens, he meets Socrates who questions him about the nature of his art. Socrates is especially curious about how Hippias would define beauty. They agree that "beauty makes all beautiful things beautiful," but when Socrates presses him to say precisely what he means, Hippias is unable to deliver such a definition. The more Socrates probes, the more absurd the responses from Hippias become. This is one of Plato’s best comedies and one of his finest efforts at posing the philosophical problem of the difference between particular things and universal qualities.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

The dramatic nature of Plato’s dialogues is delightfully evident in the "Symposium." The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love — from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as Plato concludes with one of his most skillful displays of dialectic.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

The "Dao De Jing" exists on the border between poetry and philosophy, embracing both mythos and logos. Its poetic form can stand alone, but it is enriched when its timeless ideas are analyzed and explained through careful scholarship. For example: "He who knows others is knowledgeable. He who knows himself is wise." These words resemble Socrates’ account of his own quest in Plato’s "Apology". Ancient philosophy, both in China and in Greece, places self-knowledge at the center of the search for wisdom. Contemporary philosophers are often misled about this way of thinking, because the self has been detached from external things and separated from nature and society. The wisdom of China and of Europe unites human existence and nature.Lao Zi was a scholar responsible for the imperial archives in China. He was a contemporary of Confucius, but most of what is told about his life is considered to be legend rather than documented history. One story says that Lao Zi grew weary of the foolish ways of his fellow human beings and headed to the desert to die. On the way, the gatekeeper recognized him and persuaded him to transcribe his wisdom before leaving. Whatever its source, the "Dao De Jing" continues to shape the consciousness of human beings throughout the globe, turning the mind from the external world to the depths of the soul.

The "Republic" poses questions that endure: What is justice? What form of community fosters the best possible life for human beings? What is the nature and destiny of the soul? What form of education provides the best leaders for a good republic? What are the various forms of poetry and the other arts, which ones should be fostered, and which ones should be discouraged? How does knowing differ from believing? Several characters in the dialogue present a variety of tempting answers to those questions. Cephalus, Polemarchus, Thrasymachus, and Glaucon all offer definitions of justice. Socrates, Glaucon, and Adeimantus explore five different forms of republic and evaluate the merit of each from the standpoint of goodness. Two contrasting models of education are proposed and examined. Three different forms of poetry are identified and analyzed. The difference between knowing and believing is discussed in relation to the objects of each kind of thinking.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Socrates is in prison, sentenced to die when the sun sets. In this final conversation, he asks what will become of him once he drinks the poison prescribed for his execution. Socrates and his friends examine several arguments designed to prove that the soul is immortal. This quest leads him to the broader topic of the nature of mind and its connection not only to human existence but also to the cosmos itself. What could be a better way to pass the time between now and the sunset?Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

A dialogue between Socrates and Meno probes the subject of ethics. Can goodness be taught? If it can, then we should be able to find teachers capable of instructing others about what is good and bad, right and wrong, or just and unjust. Socrates and Meno are unable to identify teachers of ethics, and we are left wondering how such knowledge could be acquired. To answer that puzzle, Socrates questions one of Meno’s servants in an attempt to show that we know fundamental ideas by recollecting them.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Plato’s dialogues frequently cover several topics and show their connection to each other. The "Phaedrus" is a model of that skill because of its seamless progression from examples of speeches about the nature of love to mythical visions of human nature and destiny to the essence of beauty and, finally, to a penetrating discussion of speaking and writing. It ends with an examination of the love of wisdom as a dialectical activity in the human mind.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Aristotle's Poetics is best known for its definition and analysis of tragedy and comedy, but it also applies to truth and beauty as they are manifested in the other arts. In our age, when the natural and social sciences have dominated the quest for truth, it is helpful to consider why Aristotle claimed: "poetry is more philosophical and more significant than history." Like so many other works by Aristotle, the Poetics has dominated the way we have thought about all forms of dramatic performance in Europe and America ever since. The essence of poetry lies in its ability to transcend the particulars of everyday experience and articulate universals, not merely what has happened but what might happen and what ought to happen. Perhaps the greatest tribute to Aristotle comes from St. Thomas Aquinas who, in the 13th century, simply referred to him as "the Philosopher" and called him the master of those who know. Born in northeastern Greece, Aristotle went to Athens as a young man to study in Plato’s Academy where he remained for more than 20 years. When Plato died, he left the Academy, and four years later he returned to Macedonia to tutor the king’s son who quickly became Alexander the Great, the ruler of most of the civilized world. Like Plato, Aristotle’s writings extend far beyond what we currently call philosophy, including the natural sciences, the social sciences, and the humanities.

Laches, a general in the Athenian army, saw Socrates fight bravely in the battle of Delium. When he and Nicias, another general, are asked to explain the idea of courage, they are at a loss and words fail them. How does courage differ from thoughtless and reckless audacity? Can a lion be said to be courageous? What about small children who have little idea of the dangers they face? Should we call people courageous who do not know whether their bravery will produce good or bad consequences? What kind of education and training promotes both courage and goodness in people, whether they are young or old? Plato constantly presents courage as an essential quality for all who seek to live a good life, so what does it mean when even the bravest leaders of Athens cannot tell us what courage really is?Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

"Plato was not a Platonist! I would like to show . . . that anyone who reads the dialogues of Plato without bias or an ax to grind will find a humorous, witty, pleasant friend; and not a desiccated scholarly mandarin. Plato was an open-minded, tolerant, reasonable individual, not a tight-lipped, pietistic, puritan. In a word, Plato was an Athenian, not a Spartan!" In the twenty-four centuries that have passed since the Athenians put Socrates to death, every generation has interpreted the meaning of Plato’s work differently. Joseph Uemura guides us through six dialogues in an effort to promote a dialectical quest rather than seek a final resting place. Plato’s dialogues treat the big questions that confront any thoughtful person. "Eythyphro" explores religion, "Phaedo" reflects on mind, "Theatetus" examines knowledge, "Sophist" probes being, "Phaedrus" reflects on art, and the "Republic" ponders society. All great literature must be experienced first-hand. Because it is not self-explanatory, it must be interpreted and evaluated. Professor Uemura’s reflections serve as a touchstone by which to test every new reading of Plato’s work.Professor Emeritus at Hamline University, Joseph Uemura has taught philosophy at small liberal arts colleges since he completed his Ph.D. in philosophy at Columbia University. During his career he has held two endowed professorships and transformed the lives of an uncounted number of students. His primary medium is the mind of his students, where he has recorded indelible ideas against which, as Nietzsche said, "time tests its teeth in vain." Although the crisp and witty prose of many of his essays and talks captures the essence of Plato’s core philosophy, it is the minds of his students where his lasting contribution persists not for the moment but for all time.

Beruto är en tidsresenär från framtiden. Tidsresor som med vårt vanliga färdmedel – det vill säga rumstiden – skulle ta tusentals år kan han avverka på en försvinnande liten tid. Tillsammans med några vänner reser han runt över hela galaxen och ser alla möjliga märkliga och fantasieggande platser. Tills de en dag stannar vid den ödsligaste och kargaste station de någonsin sett, en plats som kallas Den gamla jorden. Detta blir upptakten till en lång och händelserik resa som inte ens en tidsresenär hade kunnat föreställa sig.Bertil Mårtensson (1945-2018) var en svensk författare och filosof från Malmö. Han är framför allt känd för sina fantasirika genreromaner, där flera av hans fantasyromaner i synnerhet sticker ut.

Israelin kuningas David on rakastunut palavasti ja epatoivoisesti Bathseba-nimiseen naiseen. Rakkaus kuristaa ja se aiheuttaa karsimysta - ja samalla niin suurta onnea. "e;Bathseba - Davidin puheluja itsensa kanssa"e; on Volter Kilven kunnianhimoinen esikoisteos vuodelta 1900. Teoksen hengastyttava ja vimmainen kieli oli poikkeuksellisen modernia julkaisuaikanaan."e;Voi, miks'en mina raueta saa, ja palavaksi halaukseksi haihtua, silla minun sydameni nousee minussa niin, etta mina karsin itseni alla. Oih, silla minun on hata ja minun on vaikea olla, ja mina pakahdun mieleni haaveiden alla, voi, silla mina olen kuivuuden ja kuumuuden palava henki, joka hourin."e;-

"Urtidens tomhed og øde, det gammeltestamentlige "Tohu Vabohu", hvorom 1. Mosebog fortæller, præger landjorden endnu langt ind i de mange millioner år, der udgør Jordens ældste oldtid – den, geologerne har døbt algonkiske tid, efter en canadisk, nu uddød indianerstamme for egne, hvor periodens jordlag har stor mægtighed."J.O. Bøving-Petersens bog om Jordens svundne tidsaldre begynder helt tilbage i den algonkiske tid og følger livets udvikling op til og ind i menneskets tidsalder, hvor mange af de tidligere arter må vige pladsen. Bogen fortæller både om dyre- og planteliv, klimaets udvikling og den geologiske udvikling.J.O. Bøving-Petersens bog er skrevet i 1927, og nogle af hans påstande er sidenhen blevet modbevist af nyere forskning. Bogen skal læses som et historisk dokument ud fra sin samtid.Jens Orten Bøving-Petersen (1864-1937) var en dansk naturvidenskabsmand, der skrev en lang række bøger om zoologi og andre naturvidenskabelige emner. J.O. Bøving-Petersen var uddannet magister i zoologi og arbejdede ved siden af forfattergerningen som lærer. Hans bøger er letlæselige og handler både om dyr i havet og på landjorden samt om uddøde såvel som endnu eksisterende arter.

Troja har ikke langt igen, men selvom hærføreren Hector er død, og byen er splittet af indre magtkampe, er der stadig ingen, der vil lytte til seersken Kassandra. Ikke andre end amazonernes dronning, der nu kommer byen til hjælp. Hvad er det mon, Ægæerne er i gang med at bygge derude på sletten foran byen? Og hvad bliver Kassandras skæbne, når den lange krig får en ende?"Jordrysterens hævn" er tredje og sidste del af serien "Flammer over Troja", som er en fri genfortælling af Homers verdensberømte "Iliaden". I trilogien "Flammer over Troja" genfortæller Marion Zimmer Bradley historien fra Homers verdensberømte epos "Iliaden" om byen Trojas belejring og fald i 8-900-tallet f.Kr.Marion Zimmer Bradley (1930-1999) var en amerikansk fantasy- og science fiction-forfatter. Hendes bøger er udkommet på mange sprog, og hun opnåede stor popularitet blandt sin enorme læserskare. Mest kendt er hun for sit store firebindsværk om Kong Arthurs England – "Tågerne omkring Avalon".

Norden har en lang og spændende historie. Ikke alene har Danmark, Norge og Sverige både ligget i krig med hinanden, stået sammen mod ydre fjender og været samlet under samme monark; den nordiske kultur og mytologi har ligesom de skandinaviske sprog forenet rigerne og befolkningen gennem hundredvis af år.Første del af Niels Baches fembindsværk om Nordens historie fortæller om de første mennesker, der bosatte sig i de nordiske lande. Bogen fortæller endvidere om de spændende nordiske sagn og legender, om vikingetidens begyndelse og deres vikingernes togter og udflytning til andre lande.Niels Baches fem bind om Nordens historie starter med at fortælle om Nordens tidligste beboere og slutter først i 1864 med tabet af hertugdømmerne. Undervejs kommer den omfattende beretning både omkring kultur, mytologi, migration, politik, krig og religion. "Nordens historie" er skrevet i slutningen af 1800-tallet, og nogle af værkets påstande er sidenhen blevet modbevist af nyere forskning. Bogen skal således læses som et historisk dokument set i lyset af dens samtid.Niels Bache (1841-1895) var en dansk forfatter og historiker. Han var uddannet cand.jur. og blev i 1886 skoledirektør i København. Som forfatter er Niels Bache særligt kendt for sit fembindsværk om Nordens historie.

Lähestyvä nälänhätäkatastrofi uhkaa Roomaa ja jännitys kasvaa tavallisten roomalaisten ja Rooman aristokraattien eli patriisien välillä, koska patriisien epäillään keräävän itselleen ruokavarastoa. Rooman kaduilla vihataan erityisesti ylimielistä Caius Martiusta, joka ei pysty peittämään kansaa kohtaan tuntemaansa inhoa.Vihollisen lähestyessä Roomaa Caius Martius osoittaa kuitenkin olevansa rohkea ja suuri kenraali ja niittää mainetta Coriolin kaupungin taistelussa ansaiten siten lisänimen Coriolanus. Hänestä tulee konsuli, joka on Rooman yksi korkeimmista viroista. Mutta hän on epävarma johtaja ja roomalaiset kääntävät hänelle selkänsä. Coriolanus siirtyy vihollisen puolelle ja aloittaa marssin kohti Roomaa.Antonius ja Kleopatran lailla Coriolanus-tragedian uskotaan olevan yksi kahdesta viimeisestä tragediasta, jonka Shakespeare kirjoitti. William Shakespeare (1564−1616) on yksi maailman merkittävimmistä kirjailijoista. Näytelmäkirjailijana hän kirjoitti tragedioita, historiallisia näytelmiä ja komedioita, joita esitetään edelleenkin teattereissa 400 vuotta myöhemmin. Hän kirjoitti lisäksi runoja ja niin kutsuttuja sonetteja. Hänen tunnetuimpia näytelmiään ovat Hamlet, Macbeth, Othello sekä Romeo ja Julia. Teoksissaan Shakespeare asettaa kysymyksen: Mikä on ihminen? Mikä tekee ihmisestä ihmisen? Yhden vastauksen kysymyksiin saamme Coriolanus-tragediassa.

Ramzes XIII obejmuje władzę w Egipcie. Młody faraon stara się odnaleźć w nowej sytuacji i uczy się rządzenia osłabionym w ostatnim czasie krajem. Jego poczynaniom przyglądają się kapłani i nomarchowie, za wszelką cenę starający się zatrzymać reformy planowane przez władcę. Przed Ramzesem stoi wyzwanie nie tylko kierowania Egiptem, ale i walki o niezależność władzy.„Faraon" Prusa zyskał wielką popularność wśród czytelników i doczekał się tłumaczeń na wiele języków. Historia młodego faraona została także zekranizowana. Film w reżyserii Jerzego Kawalerowicza w 1966 roku otrzymał nominację do Oskara. Jest wymieniany wśród arcydzieł polskiego kina.Bolesław Prus, właściwie Aleksander Głowacki (1847-1912) – polski pisarz pozytywistyczny. Autor powieści, noweli, a także tekstów publicystycznych. Uważany za współtwórcę polskiego realizmu. Popularyzator wiedzy i działacz społeczny. Za jeden z najcenniejszych utworów Prusa uznaje się „Lalkę", która nie tylko podejmuje wielowymiarową problematykę społeczno-obyczajową, ale także jest znakomitym zapisem kronikarskim Warszawy końca XIX wieku. Spośród innych utworów warto wymienić powieści: „Faraon", „Emancypantki", „Placówka", „Dzieci" oraz nowele: „Kamizelka", „Antek", „Katarynka", „Sen".

Johan Ottosens lærebog i Nordens historie tager os med tilbage til tiden, før kristendommen kom til Norden og følger landenes udvikling og forhold til hinanden i løbet af de mange hundrede år, hvor landene skiftevis bekrigede hinanden og forenedes til samlede riger. Bogen skal læses som et historisk dokument og giver et spændende indblik i, hvordan man så på Nordens historie i dens udgivelsesår, 1893.Johan Ottosen (1859-1904) var en dansk forfatter, politiker og lektor ved Efterslægtsselskabets Skole. Han skrev en lang række bøger om dansk kultur og historie og er endvidere kendt for teksten til "Det haver så nyligen regnet", som er med i Den Danske Højskolesangbog.

"Mennesket, menneskeskikkelsen, kroppen har naturligt nok altid været en afgørende del af billedkunsten. Utallige og vidt forskellige er de kunstneriske fremstillinger og belysninger af menneskeskikkelsen, billedkunsten rummer. Ubegrænset og mangeartet er de almene udsagn, som kunstnere gennem menneskeskikkelsen har givet mæle."Kroppen har altid været et yndet motiv blandt kunstnere, og vi ser den i alle mulige forskellige afskygning og medier gennem hele kunsthistorien. Johannes Strædes bog belyser menneskeskikkelsens plads og funktion i billedkunsten og viser, hvordan den gennem tiden er blevet afbilledet af forskellige kunstnere.Johannes Stræde (1920-2018) var en dansk forfatter, højskoleforstander og grundtvigianer. I løbet af sit liv arbejdede Johannes Stræde blandt andet som kommunalchef i den daværende Rosenholm Kommune på Djursland og som våbenmester. I løbet af sit liv udgav han et væld af bøger om billedkunst, lokalhistorie og kultur.

Landskabet og naturen har altid spillet en stor rolle i de danske sagn og den danske folklore, og der er blevet fortalt historier om danske sten i mange år, selv efter stenene er forsvundet.Mads Lidegaard har rejst Danmark rundt for at kortlægge stenene, men også de historier og sagn, der er blevet fortalt om dem gennem generationer."Danske sten fra sagn og tro" indgår i en serie på fire bøger, hvori Mads Lidegaard ud fra folkesagn og overtro forsøger at kortlægge danske sten, træer, høje samt søer og vandløb, der har spillet en særlig rolle for folk i gamle tider, og som på en eller anden måde har været hellige eller farlige.Mads Lidegaard (1925-2006) var dansk teolog, forfatter og højskolemand. Han skrev en lang række bøger om dansk folklore, Grønland og Hærvejen i Jylland. Under anden verdenskrig var han aktiv i modstandsbevægelsen. Mads Lidegaard var i en årrække præst på Grønland, hvor han lærte sig sproget og fik indsigt i den grønlandske kultur og befolkningens vilkår. Han var en af de første til at præsentere danskerne for grønlændernes forhold.

Niels Aage Barfoed fortæller lignelsen om drengen i templet fra Bibelen. Den rige kvinde Hanna ønsker sig brændende et barn og forsvinder mere og mere ind i sig selv, jo længere tid der går. Først da hun i et helligt tempel beder Gud om et skænke hende et barn, får hun og hendes mand endelig det, hun har drømt om. Problemet er bare, at Hanna har lovet Gud, at hun en dag vil give barnet tilbage til ham. Det bliver sværere og sværere at tænke på, jo højere hun kommer til at elske den lille dreng.Niels Aage Barfoed (1899-1973) var en dansk præst og forfatter, der skrev en lang række biografiske romaner om historiske danskere heriblandt Poul Henningsen, Leonora Christina Ulfeldt, biskop Hans Adolph Brorson og Steen Steensen Blicher. Niels Aage Barfoed stod desuden bag flere noveller og romaner.

En stor del af folklore, fabler og eventyr, som hvert land anser som deres egne, kommer i virkeligheden fra Indien og er blevet overleveret til Europa og Asien fra mund til mund gennem hundredvis af år. Historierne kom gennem Persien til Europa, og det giver Persien en særlig del i eventyrenes vandringshistorie. Professor i iransk filologi Arthur Christensen fortæller om eventyr, fabler og folklores vej fra Indien og op igennem Persien, og hvilke forvandlinger historierne undergår undervejs.Arthur Christensen (1875-1945) var en dansk forfatter, journalist og professor i iransk filologi. I løbet af sit liv foretog Arthur Christensen flere rejser til den islamiske orient, hvor han studerede kultur, talesprog og folkepsykologi. Mange af Arthur Christensens bøger er blevet oversat til fremmedsprog, og han anses som en af Danmarks største forskere inden for den islamiske orientalisme.