Question: Georg Wilhelm Friedrich Hegel (; German: ['ge:oak 'vIlhelm 'fRi:dRIc 'he:

In previous modern accounts of Hegelianism (to undergraduate classes, for example), especially those formed prior to the Hegel renaissance, Hegel's dialectic was most often characterized as a three-step process, "thesis, antithesis, synthesis"; namely, that a "thesis" (e.g. the French Revolution) would cause the creation of its "antithesis" (e.g. the Reign of Terror that followed), and would eventually result in a "synthesis" (e.g. the constitutional state of free citizens). However, Hegel used this classification only once, and he attributed the terminology to Kant. The terminology was largely developed earlier by Fichte. It was spread by Heinrich Moritz Chalybaus in accounts of Hegelian philosophy, and since then the terms have been used as descriptive of this type of framework. The "thesis-antithesis-synthesis" approach gives the sense that things or ideas are contradicted or opposed by things that come from outside them. To the contrary, the fundamental notion of Hegel's dialectic is that things or ideas have internal contradictions. From Hegel's point of view, analysis or comprehension of a thing or idea reveals that underneath its apparently simple identity or unity is an underlying inner contradiction. This contradiction leads to the dissolution of the thing or idea in the simple form in which it presented itself and to a higher-level, more complex thing or idea that more adequately incorporates the contradiction. The triadic form that appears in many places in Hegel (e.g. being-nothingness-becoming, immediate-mediate-concrete, abstract-negative-concrete) is about this movement from inner contradiction to higher-level integration or unification. For Hegel, reason is but "speculative", not "dialectical". Believing that the traditional description of Hegel's philosophy in terms of thesis-antithesis-synthesis was mistaken, a few scholars, like Raya Dunayevskaya, have attempted to discard the triadic approach altogether. According to their argument, although Hegel refers to "the two elemental considerations: first, the idea of freedom as the absolute and final aim; secondly, the means for realising it, i.e. the subjective side of knowledge and will, with its life, movement, and activity" (thesis and antithesis) he doesn't use "synthesis" but instead speaks of the "Whole": "We then recognised the State as the moral Whole and the Reality of Freedom, and consequently as the objective unity of these two elements." Furthermore, in Hegel's language, the "dialectical" aspect or "moment" of thought and reality, by which things or thoughts turn into their opposites or have their inner contradictions brought to the surface, what he called Aufhebung, is only preliminary to the "speculative" (and not "synthesizing") aspect or "moment", which grasps the unity of these opposites or contradiction. It is widely admitted today that the old-fashioned description of Hegel's philosophy in terms of thesis-antithesis-synthesis is inaccurate. Nevertheless, such is the persistence of this misnomer that the model and terminology survive in a number of scholarly works.

Using a quote from the above article, answer the following question: Explain Marxism
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Problem: Abraham Ortelius (; also Ortels, Orthellius, Wortels; 14 April 1527 - 28 June 1598) was a Flemish cartographer and geographer, conventionally recognized as the creator of the first modern atlas, the Theatrum Orbis Terrarum (Theatre of the World). Ortelius is often considered one of the founders of the Netherlandish school of cartography and one of the most notable representatives of the school in its golden age (approximately 1570s-1670s). The publication of his atlas in 1570 is often considered as the official beginning of the Golden Age of Netherlandish cartography.

On 20 May 1570, Gilles Coppens de Diest at Antwerp issued Ortelius' Theatrum Orbis Terrarum, the "first modern atlas" (of 53 maps). Three Latin editions of this (besides a Dutch, a French and a German edition) appeared before the end of 1572; twenty-five editions came out before Ortelius' death in 1598; and several others were published subsequently, for the atlas continued to be in demand until about 1612. Most of the maps were admittedly reproductions (a list of 87 authors is given in the first Theatrum by Ortelius himself, growing to 183 names in the 1601 Latin edition), and many discrepancies of delineation or nomenclature occur. Errors, of course, abound, both in general conceptions and in detail; thus South America is initially very faulty in outline, but corrected in the 1587 French edition, and in Scotland the Grampians lie between the Forth and the Clyde; but, taken as a whole, this atlas with its accompanying text was a monument of rare erudition and industry. Its immediate precursor and prototype was a collection of thirty-eight maps of European lands, and of Asia, Africa, Tartary and Egypt, gathered together by the wealth and enterprise, and through the agents, of Ortelius' friend and patron, Gillis Hooftman (1521-1581), lord of Cleydael and Aertselaer: most of these were printed in Rome, eight or nine only in the Southern Netherlands. In 1573 Ortelius published seventeen supplementary maps under the title Additamentum Theatri Orbis Terrarum. Four more Additamenta were to follow, the last one appearing in 1597. He also had a keen interest and formed a fine collection of coins, medals and antiques, and this resulted in the book (also in 1573, published by Philippe Galle of Antwerp) Deorum dearumque capita ... ex Museo Ortelii (reprinted in 1582, 1602, 1612, 1680, 1683 and finally in 1699 by Gronovius, Thesaurus Graecarum Antiquitatum. vol. vii). The Theatrum Orbis Terrarum inspired a six volume work entitled Civitates orbis terrarum edited by Georg Braun and illustrated by Frans Hogenberg with the assistance of Ortelius himself, who visited England to see his friend John Dee in Mortlake in 1577 and Braun tells of Ortelius putting pebbles in cracks in Temple Church, Bristol, being crushed by the vibration of the bells in the description on the back of 'Brightovve' Map 2, Third Edition 1581

Where did he go next?

Answer with quotes:
Ortelius putting pebbles in cracks in Temple Church,