"Today's most visionary thinkers reveal the cutting-edge scientific ideas and breakthroughs you must understand. Scientific developments radically change and enlighten our understanding of the world--whether it's advances in technology and medical research or the latest revelations of neuroscience, psychology, physics, economics, anthropology, climatology, or genetics. And yet amid the flood of information today, it's often difficult to recognize the truly revolutionary ideas that will have lasting impact. In the spirit of identifying the most significant new theories and discoveries, John Brockman, publisher of Edge.org ("The world's smartest website"--The Guardian), asked 198 of the finest minds What do you consider the most interesting recent scientific news? What makes it important? Pulitzer Prize-winning author of Guns, Germs, and Steel Jared Diamond on the best way to understand complex problems * author of Seven Brief Lessons on Physics Carlo Rovelli on the mystery of black holes * Harvard psychologist Steven Pinker on the quantification of human progress * TED Talks curator Chris J. Anderson on the growth of the global brain * Harvard cosmologist Lisa Randall on the true measure of breakthrough discoveries * Nobel Prize-winning physicist Frank Wilczek on why the twenty-first century will be shaped by our mastery of the laws of matter * philosopher Rebecca Newberger Goldstein on the underestimation of female genius * music legend Peter Gabriel on tearing down the barriers between imagination and reality * Princeton physicist Freeman Dyson on the surprising ability of small (and cheap) upstarts to compete with billion-dollar projects. Plus Nobel laureate John C. Mather, Sun Microsystems cofounder Bill Joy, Wired founding editor Kevin Kelly, psychologist Alison Gopnik, Genome author Matt Ridley, Harvard geneticist George Church, Why Does the World Exist? author Jim Holt, anthropologist Helen Fisher, and more."--Back cover.

2012 Reprint of 1935 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. As engaging today as when it originally appeared, this book has two parts. The first describes the colorful life of two artist-puppeteers and their travels through the famine and revolution torn land, into remote oriental provinces. The second is the practical part. It tells just how the author conceives her plays, and make and works her puppets, whether they be hand-puppets, shadow figures or the special hand and rod combination type she evolved. No other book has gone so deeply into the heart of the artist using puppets. The Efimovs invented an original design of puppets on rods, which enabled them, by way of experiment, to stage scenes from "Macbeth".

Could an Irish monk in the sixth century really have sailed all the way across the Atlantic in a small open boat, thus beating Columbus to the New World by almost a thousand years? Relying on the medieval text of St. Brendan, award-winning adventure writer Tim Severin painstakingly researched and built a boat identical to the leather curragh that carried Brendan on his epic voyage. He found a centuries-old, family-run tannery to prepare the ox hides in the medieval way; he undertook an exhaustive search for skilled harness makers (the only people who would know how to stitch the three-quarter-inch-thick hides together); he located one of the last pieces of Irish-grown timber tall enough to make the mainmast. But his courage and resourcefulness were truly tested on the open seas, including one heart-pounding episode when he and his crew repaired a dangerous tear in the leather hull by hanging over the side--their heads sometimes submerged under the freezing waves--to restitch the leather. A modern classic in the tradition of Kon-Tiki, The Brendan Voyage seamlessly blends high adventure and historical relevance. It has been translated into twenty-seven languages since its original publication in 1978. With a new Introduction by Malachy McCourt, author of A Monk Swimming

Lax and Nirenberg are two of the most distinguished mathematicians of our times. Their work on partial differential equations (PDEs) over the last half-century has dramatically advanced the subject and has profoundly influenced the course of mathematics. A huge part of the development in PDEs during this period has either been through their work, motivated by it or achieved by their postdocs and students. A large number of mathematicians honored these two exceptional scientists in a week-long conference in Venice (June 1996) on the occasion of their 70th birthdays. This volume contains the proceedings of the conference, which focused on the modern theory of nonlinear PDEs and their applications. Among the topics treated are turbulence, kinetic models of a rarefied gas, vortex filaments, dispersive waves, singular limits and blow-up of solutions, conservation laws, Hamiltonian systems, and others.The conference served as a forum for the dissemination of new scientific ideas and discoveries and enhanced scientific communication by bringing together such a large number of scientists working in related fields. The event allowed the international mathematics community to honor two of its outstanding members.

The book starts with a background story of the author which explains what led him to his strange life- long hobby of "collecting religions". It then continues by building a systematic foundation to his Exodus theory. It starts with a closely related descriptions of North African history, geography, climate, the Africans, Egypt, and its powerful Nile in ancient times. The author then tells the story of his experiences in Africa, which led him to start his investigation and come up with the theory that the Exodus was partially occurred in North Africa. The book supports the theory with rational proofs including military, engineering, leadership, and common-sense explanations to many mystical stories about the Exodus, including the 10 plaques, crossing the sea of reeds, the reasoning for moving west, the locations of mount Sinai and its volcano "pillar of fire", the Tombs of Lust, the snakes attack in the Valley of the Serpents, the Manna tree, the golden Calf, the construction of the large Ark of Covenant and more. In addition, the author supports his theory by identifying 20 locations, which are listed in the Bible through which the Israelites passed from Egypt to Canaan, that still exist in North Africa today. Finally, the author brings additional evidence in support of his theory which relate to the similarity of African languages, such as Bambara, to Hebrew as well as similarities of African religious traditions, customs, and rituals to the ancient Jewish ones. Thus, concluding that some of the Israelites left The Exodus journey and settled in Africa, such as the Bambara tribes. The second part of the book describes the author's search for the hidden footsteps of the Ten lost Tribes on Israel. It starts with an historical background of the life in Canaan after the Israelites arrived there from Egypt, and the misfortunate events which led to the expulsion of the Ten Tribes by the Assyrians. It also presents some known historical records of the Japanese people since the time they arrived in their islands including some personal adventurous experiences of the author along the route that they took from Assyria through Asia to Japan. The proof of the theory is greatly related to the author's discoveries of similarities between the Japanese mythological stories, customs, holidays, rituals and their parallel biblical Jewish stories, holidays, custom and traditions. In addition, it presents many linguistic similarities between Hebrew and Japanese including words, writing letters and symbols that support his theory that the Japanese and the ancient Ten Lost Tribes of Israel are strongly related. The book finishes with a dictionary that shows similarities in meaning and pronunciation of many Hebrew, Bambara and Japanese words that support the author's theories that their history is closely related.

Full of intriguing information on historical sites relating to scientific discoveries in Europe, including Eastern Europe and Russia. Covers locales from all periods in history such as cave paintings in the Vezere Valley, France; Einstein's apartment in Bern, Switzerland; wall depictions of the Periodic Table in St. Petersburg; Stonehenge in Great Britain. Features contemporary institutions and museums including their hours of operation, maps, general directions from central locations, plus extensive historical and biographical narratives as well as photographs.

"This volume publishes Anna Sokolow's Ballade in Labanotation for the first time. It is a dance which explores youth and its discoveries, following the restlessness and inconclusiveness of young love to a final sombre note. The complete score is accompanied by detailed study and performance notes, historical background and photographs. Since moving to New York in 1961, Ray Cook has worked as a dancer and notator with many leading choreographers and has dedicated himself to working with Labanotation. He has directed major dance works from score, restaged many which had been considered lost and proven through his work that Labanotation is an essential means of preserving our dance heritage. He is currently an Associate Professor of Dance at Vassar College." -- Publisher description.

Long recognized as a brilliant cross-cultural study, Yochanan Muffs work analyzes the legal formulary of the Aramaic papyri from Elephantine, at the first cataract of the Nile, where a Persian garrison comprised of Jewish soldiers and their families lived throughout most of the 5th century B.C.E. These documents are of exceptional importance for the study of ancient Near Eastern law, and Muffs has investigated their formative background through extensive references to cuneiform law, by a method he calls the Assyriological approach . Virtually every aspect of law-sale of land, marriage and family law, loans and credit, the taking of oaths, and the granting of bequests is studied in great depth and with unusual clarity. Muffs work has enjoyed renewed interest in the light of more recent discoveries of Aramaic legal documents from later periods, as in the Judean Desert.

This volume is number five in the 11-volume Handbook of the History of Logic. It covers the first 50 years of the development of mathematical logic in the 20th century, and concentrates on the achievements of the great names of the period--Russell, Post, Gödel, Tarski, Church, and the like. This was the period in which mathematical logic gave mature expression to its four main parts: set theory, model theory, proof theory and recursion theory. Collectively, this work ranks as one of the greatest achievements of our intellectual history. Written by leading researchers in the field, both this volume and the Handbook as a whole are definitive reference tools for senior undergraduates, graduate students and researchers in the history of logic, the history of philosophy, and any discipline, such as mathematics, computer science, and artificial intelligence, for whom the historical background of his or her work is a salient consideration. • The entire range of modal logic is covered• Serves as a singular contribution to the intellectual history of the 20th century• Contains the latest scholarly discoveries and interpretative insights

This milestone extensive work combines the essentials of history – biography, chronology, political and economic background – with the observations, theories, principles, laws and equations that constitute the specifics of science. The 5800-page Encyclopedia arises from the conviction that the optimal perspective on science is through the lens of history, setting aside traditional divisions of discipline and specialty, and rising above geopolitical boundaries. Reaching from 4,200 BCE to the 21st century CE, the Encyclopedia tells (as the author himself puts it) "not only who did it and when it was done but also precisely what was done." The author, Ari Ben-Menahem, surveys 100 generations of great thinkers, offering 2070 detailed biographies of scientists, engineers, explorers and inventors, who left their mark on the history of science and technology. The span of coverage is all-encompassing: mathematics, philosophy, logic, physical and environmental sciences (including physics, chemistry, astronomy, earth and space sciences and cosmology), life sciences (biology, medicine, physiology, botany, zoology and biochemistry), associated engineering disciplines, and the social sciences (among them economics, psychology, sociology, anthropology, linguistics and more). The six-volume Encyclopedia also includes 380 articles summarizing the time-line of ideas in the leading fields of science, technology, mathematics and philosophy, plus useful tables, figures and photos, and 20 ‘Science Progress Reports’ detailing scientific setbacks. Interspersed throughout are quotations, gathered from the wit and wisdom of sages, savants and scholars throughout the ages from antiquity to modern times.

Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeerâ (TM)s grands opÃ(c)ras, and his final work. By 1860 long-imposed labor had started to tell upon the composerâ (TM)s health: he knew that he must concentrate on the â oenavigator projectâ which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and CÃ(c)sar-Victor Perrin, the director of the OpÃ(c)ra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph FÃ(c)tis, while the libretto was revised by MÃ(c)lesville. The original title of Lâ (TM)Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. Lâ (TM)Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

Nineteenth Century Collections Online: European Literature, 1790-1840: The Corvey Collection includes the full-text of more than 9,500 English, French and German titles. The collection is sourced from the remarkable library of Victor Amadeus, whose Castle Corvey collection was one of the most spectacular discoveries of the late 1970s. The Corvey Collection comprises one of the most important collections of Romantic era writing in existence anywhere -- including fiction, short prose, dramatic works, poetry, and more -- with a focus on especially difficult-to-find works by lesser-known, historically neglected writers. The Corvey library was built during the last half of the 19th century by Victor and his wife Elise, both bibliophiles with varied interests. The collection thus contains everything from novels and short stories to belles lettres and more populist works, and includes many exceedingly rare works not available in any other collection from the period. These invaluable, sometimes previously unknown works are of particular interest to scholars and researchers. European Literature, 1790-1840: The Corvey Collection includes: * Novels and Gothic Novels * Short Stories * Belles-Lettres * Short Prose Forms * Dramatic Works * Poetry * Anthologies * And more Selected with the guidance of an international team of expert advisors, these primary sources are invaluable for a wide range of academic disciplines and areas of study, providing never before possible research opportunities for one of the most studied historical periods. Additional Metadata Primary Id: B0961903 PSM Id: NCCOF0063-C00000-B0961903 DVI Collection Id: NCCOC0062 Bibliographic Id: NCCO021038 Reel: 8177 MCODE: 4UVC Original Publisher: Printed for T. Cadell and W. Davies Original Publication Year: 1807 Original Publication Place: London Original Imprint Manufacturer: G. Sidney, printer; W. Flint, printer Subjects English fiction -- 19th century

NOTHING IS WHAT IT SEEMS A dozen years ago, the Cossack Hetmanate did not exist. Then, out of nowhere, they emerged, breaking free from both Russia and the Ukraine to form their own tiny nation, fueled by remarkable scientific discoveries. And now, it seems, they need help. The kind they cannot ask for openly. The kind that requires a certain delicacy, and a certain . . . openmindedness to the limits of reality. The kind of help only O.C.L.T. can provide. But when the team arrives, they find only secrets, mysteries, and riddles. What is really going on here? One thing is certain—there is real danger, and possibly to a good deal more than just the fledgling nation. Everything else is a swirl of lies and half-truths, but anything can be brought to clarity. With the proper focal point.

Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeerâ (TM)s grands opÃ(c)ras, and his final work. By 1860 long-imposed labor had started to tell upon the composerâ (TM)s health: he knew that he must concentrate on the â oenavigator projectâ which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and CÃ(c)sar-Victor Perrin, the director of the OpÃ(c)ra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph FÃ(c)tis, while the libretto was revised by MÃ(c)lesville. The original title of Lâ (TM)Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. Lâ (TM)Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeerâ (TM)s grands opÃ(c)ras, and his final work. By 1860 long-imposed labor had started to tell upon the composerâ (TM)s health: he knew that he must concentrate on the â oenavigator projectâ which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and CÃ(c)sar-Victor Perrin, the director of the OpÃ(c)ra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph FÃ(c)tis, while the libretto was revised by MÃ(c)lesville. The original title of Lâ (TM)Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. Lâ (TM)Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeerâ (TM)s grands opÃ(c)ras, and his final work. By 1860 long-imposed labor had started to tell upon the composerâ (TM)s health: he knew that he must concentrate on the â oenavigator projectâ which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and CÃ(c)sar-Victor Perrin, the director of the OpÃ(c)ra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph FÃ(c)tis, while the libretto was revised by MÃ(c)lesville. The original title of Lâ (TM)Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. Lâ (TM)Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeerâ (TM)s grands opÃ(c)ras, and his final work. By 1860 long-imposed labor had started to tell upon the composerâ (TM)s health: he knew that he must concentrate on the â oenavigator projectâ which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and CÃ(c)sar-Victor Perrin, the director of the OpÃ(c)ra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph FÃ(c)tis, while the libretto was revised by MÃ(c)lesville. The original title of Lâ (TM)Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. Lâ (TM)Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

This book commemorates the eclectic intellectual life of scientist and artist Walter Gilbert. It presents all of his most influential works throughout his scientific career. His scientific explorations covered a broad spectrum of fields: theoretical physics; molecular biology, from finding messenger RNA to elucidating the regulation of the lac operon to understanding DNA replication; gene evolution and origin of life; genomics; bioinformatics; and beyond. He created widely used concepts such as 'Exon', 'Intron' and 'RNA World'. Eleven reflective essays by Gilbert are included for the first time, discussing both his scientific studies and anecdotes from his own life. These firsthand accounts record the historical and intellectual contexts for his most monumental scientific discoveries, including his Nobel Prize-winning sequencing method. Memorial chapters, contributed by Gilbert Laboratory alumni, describe the passion, ambition, and efforts of Gilbert and several generations of young scientists under his leadership. Finally, the book collects a few fine pieces of artwork created by Gilbert in recent years. It documents a life of genius and creativity that could inspire others for years to come.

This is the English translation of a volume originally published only in Russian and now out of print. The book was written by Jacques Hadamard on the work of Poincare. Poincare's creation of a theory of automorphic functions in the early 1880s was one of the most significant mathematical achievements of the nineteenth century. It directly inspired the uniformization theorem, led to a class of functions adequate to solve all linear ordinary differential equations, and focused attention on a large new class of discrete groups. It was the first significant application of non-Euclidean geometry. The implications of these discoveries continue to be important to this day in numerous different areas of mathematics. Hadamard begins with hyperbolic geometry, which he compares with plane and spherical geometry. He discusses the corresponding isometry groups, introduces the idea of discrete subgroups, and shows that the corresponding quotient spaces are manifolds.In Chapter 2 he presents the appropriate automorphic functions, in particular, Fuchsian functions. He shows how to represent Fuchsian functions as quotients, and how Fuchsian functions invariant under the same group are related, and indicates how these functions can be used to solve differential equations. Chapter 4 is devoted to the outlines of the more complicated Kleinian case. Chapter 5 discusses algebraic functions and linear algebraic differential equations, and the last chapter sketches the theory of Fuchsian groups and geodesics. This unique exposition by Hadamard offers a fascinating and intuitive introduction to the subject of automorphic functions and illuminates its connection to differential equations, a connection not often found in other texts. This volume is one of an informal sequence of works within the ""History of Mathematics"" series. Volumes in this subset, ""Sources"", are classical mathematical works that served as cornerstones for modern mathematical thought.