Little is known of the earliest Stone Age inhabitants of Europe's southwestern extremity. The ancient Greeks called them the Cynetes (or Cunetes). Whatever their origins, their culture evolved under the pressure and influence of foreign forces. Among the many invading armies that settled here and contributed to nascent Portuguese culture were Phoenicians, who settled in the area around 1,000 b.c., followed by the Celts, Iberians, Greeks, and Carthaginians. But it was the Romans, who arrived late in the third century b.c., who most greatly influenced all of Iberia. They built towns, industries, roads, and bridges, developed agriculture, and bequeathed the Latin language, of which Portuguese is a direct descendant. The Romans named the southwestern province of the peninsula Lusitania, oddly enough for one of the Celtiberian tribes they defeated, and by the third century a.d. had introduced Christianity. By the beginning of the fourth century the Algarve had a bishop in place, based in Faro. But Rome had already fallen into decay, and soon hordes of northern tribesmen took over the empire. The Algarve fell to the Visigoths in the mid-fifth century. Under Moorish Rule In a.d. 711, the Moors brought powerful armies from North Africa and launched a devastating attack on the Iberian peninsula, conquering much of what would become Spain and Portugal. They imposed Islam and left an indelible influence on the countryside and the population of the Algarve. The Moorish legacy can still be seen in the form of wells and waterwheels, squat white houses, the dark complexions of the people, and in the very name given the regiontaken from Al-Gharb, which means "country of the west" (when the Moors conquered the territory, it was the most westerly in the known world). The Moors governed their Iberian kingdoms from across the border in Seville, but the Algarve had its own regional capital and huge, invulnerable fortress. The capital was Chelb (or Xelb), and it was bigger and better defended than Lisbon. Today the town, known as Silves, is a provincial outpost whose only besiegers are busloads of tourists who climb the narrow streets up to the old Moorish ramparts.
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QUESTION: Who's culture evolved under the pressure and influence of foreign forces?

Take a look at this train in Figure 1.11. It looks very futuristic. What do you notice about it? Did you notice that the train has no wheels? How can a train have no wheels? It doesn't need wheels. It actually floats, or levitates, just above the track. Magnets enable the train to do this. This is not a normal train. This is a maglev train. The word maglev stands for magnetic levitation. Because it has no wheels, there is no friction. Some magnets hold the train up. Other magnets are used to move the train forward. This train can go very fast. It can reach speeds up to 480 kilometers (300 miles) per hour! Magnets are pretty cool. What exactly is a magnet? How is it able to exert such force?
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QUESTION: What do you notice about figure 1.11?

Do not look for the Danteum in the Eternal City. In true Dantean form, politics stood in the way of its construction in 1938. Ironically this literature-inspired building can itself most easily be found in book form. Reading this book I remembered Goethe's quote about frozen music. Did Terragni try to freeze Dante's medieval miracle of song? Certainly a cold-poem seems artistically repulsive. Unflattering comparisons to the lake of Cocytus spring to mind too. While I cannot read Italian, I can read some German. After locating the original quotation I discovered that 'frozen' is a problematic (though common) translation of Goethe's original 'erstarrte.' The verb 'erstarren' more properly means 'to solidify' or 'to stiffen.' This suggests a chemical reaction in which the art does not necessarily chill in the transformation. Nor can simple thawing yield the original work. Like a chemical reaction it requires an artistic catalyst, a muse. Indeed the Danteum is not a physical translation of the Poem. Terragni thought it inappropriate to translate the Comedy literally into a non-literary work. The Danteum would not be a stage set, rather Terragni generated his design from the Comedy's structure, not its finishes.
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QUESTION: What type of catalyst does a poem require?

Alexander the Great's accomplishments and legacy have been depicted in many cultures. Alexander has figured in both high and popular culture beginning in his own era to the present day. The Alexander Romance, in particular, has had a significant impact on portrayals of Alexander in later cultures, from Persian to medieval European to modern Greek. Alexander may already have considered himself as the "King of Asia" after his victory at Issos, a conception strengthened by his subsequent successes. The conception might have inspired the title given to Alexander in Babylonian documents, "king of the world (since "king of Asia" had no meaning in Babylonian geography). It might also be alluded in the sarcastic comments by Anaxarchus, trying to rouse Alexander after the murder of Cleitus. or in the orator Demades' comments that if Alexander were dead, "The whole world would stink of his corpse". Alexander is called "kosmokrator", ruler of the world, in the later Alexander Romance. Alexander features prominently in modern Greek folklore, more so than any other ancient figure. The colloquial form of his name in modern Greek ("O Megalexandros") is a household name, and he is the only ancient hero to appear in the Karagiozis shadow play. One well-known fable among Greek seamen involves a solitary mermaid who would grasp a ship's prow during a storm and ask the captain "Is King Alexander alive?". The correct answer is "He is alive and well and rules the world!", causing the mermaid to vanish and the sea to calm. Any other answer would cause the mermaid to turn into a raging Gorgon who would drag the ship to the bottom of the sea, all hands aboard.
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QUESTION:
What were the orator Demades' comments referring to Alexanders death?