But there is one other motive which is as strong as any of these — the search for beauty. Mathematics is an art, and as such affords the pleasures which all the arts afford." In this erudite, entertaining college-level text, Morris Kline, Professor Emeritus of Mathematics at New York University, provides the liberal arts student with a detailed treatment of mathematics in a cultural and historical context. The book can also act as a self-study vehicle for advanced high school students and laymen. Professor Kline begins with an overview, tracing the development of mathematics to the ancient Greeks, and following its evolution through the Middle Ages and the Renaissance to the present day. Subsequent chapters focus on specific subject areas, such as "Logic and Mathematics," "Number: The Fundamental Concept," "Parametric Equations and Curvilinear Motion," "The Differential Calculus," and "The Theory of Probability." Each of these sections offers a step-by-step explanation of concepts and then tests the student's understanding with exercises and problems. At the same time, these concepts are linked to pure and applied science, engineering, philosophy, the social sciences or even the arts.In one section, Professor Kline discusses non-Euclidean geometry, ranking it with evolution as one of the "two concepts which have most profoundly revolutionized our intellectual development since the nineteenth century." His lucid treatment of this difficult subject starts in the 1800s with the pioneering work of Gauss, Lobachevsky, Bolyai and Riemann, and moves forward to the theory of relativity, explaining the mathematical, scientific and philosophical aspects of this pivotal breakthrough. Mathematics for the Nonmathematician exemplifies Morris Kline's rare ability to simplify complex subjects for the nonspecialist.

    Topics range from ruminations on why Charles Dickens was among the best of writers and the worst of men to the haunting science fiction of J.G. Ballard; from the enduring legacies of Thomas Jefferson and George Orwell to the persistent agonies of anti-Semitism and jihad. Hitchens even looks at the recent financial crisis and argues for the enduring relevance of Karl Marx. The book forms a bridge between the two parallel enterprises of culture and politics. It reveals how politics justifies itself by culture, and how the latter prompts the former. In this fashion, Arguably burnishes Christopher Hitchens' credentials as (to quote Christopher Buckley) our "greatest living essayist in the English language."

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    The selections range from his earliest days as a theoretical physicist to his death in 1955; from such subjects as relativity, nuclear war or peace, and religion and science, to human rights, economics, and government.

    The subject was the mystery of prime numbers. At the heart of the presentation was an idea that Riemann had not yet proved but one that baffles mathematicians to this day.Solving the Riemann Hypothesis could change the way we do business, since prime numbers are the lynchpin for security in banking and e-commerce. It would also have a profound impact on the cutting-edge of science, affecting quantum mechanics, chaos theory, and the future of computing. Leaders in math and science are trying to crack the elusive code, and a prize of $1 million has been offered to the winner. In this engaging book, Marcus du Sautoy reveals the extraordinary history behind the holy grail of mathematics and the ongoing quest to capture it.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

    From Edward Lorenz’s discovery of the Butterfly Effect, to Mitchell Feigenbaum’s calculation of a universal constant, to Benoit Mandelbrot’s concept of fractals, which created a new geometry of nature, Gleick’s engaging narrative focuses on the key figures whose genius converged to chart an innovative direction for science. In Chaos, Gleick makes the story of chaos theory not only fascinating but also accessible to beginners, and opens our eyes to a surprising new view of the universe.

    In Tammet's world, numbers are beautiful and mathematics illuminates our lives and minds. Using anecdotes, everyday examples, and ruminations on history, literature, and more, Tammet allows us to share his unique insights and delight in the way numbers, fractions, and equations underpin all our lives. Inspired by the complexity of snowflakes, Anne Boleyn's eleven fingers, or his many siblings, Tammet explores questions such as why time seems to speed up as we age, whether there is such a thing as an average person, and how we can make sense of those we love. Thinking In Numbers will change the way you think about math and fire your imagination to see the world with fresh eyes.

    Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the great works of the western literary tradition and essential writers of the ages. The Western Canon was nominated for the National Book Critics Circle Award.

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    He maintains at the outset that the importance of a physical law isn't "how clever we are to have found it out, but...how clever nature is to pay attention to it" & tends his discussions toward a final exposition of the elegance & simplicity of all scientific laws. Rather than an essay on the most significant achievements in modern science, The Character of Physical Law is a statement of what is most remarkable in nature. His enlightened approach, wit & enthusiasm make this a memorable exposition of the scientist's craft. The Law of Gravitation is the principal example. Relating the details of its discovery & stressing its mathematical character, he uses it to demonstrate the essential interaction of mathematics & physics. He views mathematics as the key to any system of scientific laws, suggesting that if it were possible to fill out the structure of scientific theory completely, the result would be an integrated set of axioms. The principles of conservation, symmetry & time-irreversibility are then considered in relation to developments in classical & modern physics. In his final lecture he develops his own analysis of the process & future of scientific discovery. Like any set of oral reflections, The Character of Physical Law has value as a demonstration of a mind in action. The reader is particularly lucky in Feynman. One of the most eminent & imaginative modern physicists, he was Professor of Theoretical Physics at the California Institute of Technology until his death in 1988. He's best known for work on the quantum theory of the electromagnetic field, as well as for later research in the field of low-temperature physics. In 1954 he received the Albert Einstein Award for an "outstanding contribution to knowledge in mathematical & physical sciences"; in 1965 he was appointed to Foreign Membership in the Royal Society & was awarded the Nobel Prize.

    From the very first attempts by the Greeks to grapple with the complexities of our known world to the latest application of infinity in physics, The Road to Reality carefully explores the movement of the smallest atomic particles and reaches into the vastness of intergalactic space. Here, Penrose examines the mathematical foundations of the physical universe, exposing the underlying beauty of physics and giving us one the most important works in modern science writing.

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

    Lovecraft (1890-1937), the most important American supernaturalist since Poe, has had an incalculable influence on all the horror-story writing of recent decades. Altho his supernatural fiction has been enjoying an unprecedented fame, it's not widely known that he wrote a critical history of supernatural horror in literature that has yet to be superceded as the finest historical discussion of the genre. This work is presented in this volume in its final, revised text. With incisive power, Lovecraft here formulates the esthetics of supernatural horror & summarizes the range of its literary expression from primitive folklore to the tales of his own 20th-century masters. Following a discussiom of terror-literature in ancient, medieval & renaissance culture, he launches on a critical survey of the whole history of horror fiction from the Gothic school of the 18th century (when supernatural horror found its own genre) to the time of De la Mare & M.R. James. The Castle of Otranto, Radcliffe, "Monk" Lewis, Vathek Charles Brockden Brown, Melmoth the Wanderer, Frankenstein, Bulwer-Lytton, Fouqué's Undine, Wuthering Heights, Poe (full chapter), The House of the Seven Gables, de Maupassant's The Horla, Bierce, The Turn of the Screw , M.P. Shiel, W.H. Hodgson, Machen, Blackwood & Dunsany are among those discussed in depth. He also notices a host of lesser writers--enough to draw up an extensive reading list. By charting so completely the background for his own concepts of horror & literary techniques, Lovecraft throws light on his own fiction as well as on the horror-literature which has followed. For this reason this book will be especially intriguing to those who've read his fiction as an isolated phenomenon. Any searching for a guide thru the inadequately marked region of literary horror, need search no further. Unabridged & corrected republication of 1945 edition. New introduction by E.F. Bleiler.