Europe is a word that is almost daily on our lips. But how far do we have to go back in order to find the origins of its name? The first part of this beautifully illustrated book traces the geographical and mythological basis of Europe's name. Who came up with the idea to distinguish the world in continents with proper names? The search will bring the reader back to the early history of mankind. How did the ancient Egyptians see the world and populations around them? Where did the Hebrews get the idea to split the world in three? And what was the world-picture in ancient Greece, laid down in geographic treatises and fragments? Where did the name 'Europe' originate from? Could it be from a person, either mortal or divine? In ancient Greek literature the name 'Europa' appears quite frequently for Greek goddesses and Greek women. Strangely enough, the best known Europa myth concerns a Phoenician princess, loved by the Greek god Zeus. Many mythographs doubt the Asian descent of the Phoenician Europa. Is her real origin to be located on mainland Greece? How can the contradicting Greek myths be interpreted, and was the name universally accepted as the name for the continent? In the second part of this book, the author tells the amazing story of how the Arts have treated the Europa myths for almost three millennia. He shows the extraordinary influence of the personification of the geographic continent Europe on literature, music, sculpture, painting, tapestry and other applied arts. All this clearly demonstrates the vivid interest in Europe for the subject throughout the ages and illustrates, according to Karel van Miert in his Foreword, our common European culture.

The COVID-19 pandemic is not only a threat to our health and economy, but also has strong implications for defence and security. Indeed, defence leaders have highlighted a second fight surrounding the spread of COVID-19, namely disinformation and preparing to face adversaries willing to exploit the public health crisis for nefarious purposes. The current pandemic is a breeding ground for the propagation of disinformation, as it represents the first major global health event in which large social media platforms have become the main distributor of information. This multi-national edited volume consists of contributions from Defence Science, academia and industry, including NATO Headquarters, United States, Netherlands, Singapore, United Kingdom and Norway. The content is aimed at a diverse audience, including NATO members, researchers from defence and security organizations, academics, and militaries including analysts and practitioners, as well as policy makers. This volume focuses on various aspects of COVID-19 disinformation, including identifying global dominant disinformation narratives and the methods used to spread disinformation, examining COVID-19 disinformation within the broader context of the cognitive domain, examining the psychological effects of COVID-19 disinformation and COVID-19 disinformation on instant messaging platforms, along with examining various countermeasures to disinformation.

Friedrich Nietzsche (1844-1900) supported the unification of Europe and reflected on this like few other philosophers before or after him. Many of his works are concerned with the present state and future of European culture and humanity. Resisting the “nationalist nonsense” and “politics of dissolution” of his day, he advocated the birth of “good Europeans,” i.e. “supra-national” individuals and the “amalgamation of nations.” Nietzsche, Wagner, Europe analyzes the development of Friedrich Nietzsche’s ideal of European culture based on his musical aesthetics. It does so against the background of contemporary searches for a wider, cultural meaning beyond Europe’s economic-political union. The book claims that Nietzsche always propagated the “aestheticization” of Europe, but that his view on how to achieve this changed as a result of his dramatically altering philosophy of music. The main focus is on Nietzsche’s passion for and later aversion to Wagner’s music, and, in direct connection with this, his surprising embrace of Italian operas as new forms of “Dionysian” music and of Goethe as a model of “Good Europeanism.”

Essays om filipinsk litteratur