Discovering Patterns in Mathematics and Poetry by Marcia Birken, Anne C. Coon

By Marcia Birken, Anne C. Coon

You're invited to affix a desirable trip of discovery, as Marcia Birken and Anne C. Coon discover the intersecting styles of arithmetic and poetry - bringing the 2 fields jointly in a brand new approach. surroundings the tone with humor and illustrating every one bankruptcy with numerous examples, Birken and Coon start with styles we will be able to see, pay attention, and think after which movement to extra advanced styles. quantity platforms and nursery rhymes result in the Golden suggest and sestinas. uncomplicated styles of form introduce tessellations and urban poetry. Fractal geometry makes fractal poetry attainable. finally, styles for the brain result in questions: How do mathematicians and poets conceive of evidence, paradox, and infinity? What function does analogy play in mathematical discovery and poetic expression? The e-book could be of precise curiosity to readers who get pleasure from trying to find connections throughout conventional disciplinary barriers. getting to know styles in arithmetic and Poetry good points centuries of inventive paintings by way of mathematicians, poets, and artists, together with Fibonacci, Albrecht D?rer, M. C. Escher, David Hilbert, Benoit Mandelbrot, William Shakespeare, Edna St. Vincent Millay, Langston Hughes, E.E. Cummings, and lots of modern experimental poets. unique illustrations comprise electronic images, mathematical and poetic versions, and fractal imagery. Marcia Birken and Anne C. Coon have collaborated for over two decades, exploring the connections among arithmetic and literature of their learn, writing, and team-teaching. The co-authors of diverse scholarly articles and booklet chapters, they're college contributors at Rochester Institute of know-how, Rochester, ny. Birken is Professor Emeritus within the college of Mathematical Sciences, collage of technological know-how, and Coon is Sr. affiliate Dean and Professor of English within the university of Liberal Arts.

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Wi the Scots lords at his feit. (“Sir Patrick Spens” 65-67) The rhyming pattern is easily seen here, as are some of the other features common to the ballad. For instance, the anonymous storyteller uses incremental change, the slight changing of detail in a repeated phrase, (“lang, lang may their ladies sit” and “lang, lang may their ladies stand” in stanzas 9 and 10) to add to the tension of the widows’ waiting and to indicate the passage of time. As with many ballads, the critical scene in the story — the actual shipwreck — is not described directly; instead, we hear about the circumstances that lead up to the storm and see the aftermath both under the sea and on shore.

It’s important to note here that not all poetry in English has easily recognized metrical patterns. Indeed, contemporary “free verse” often looks and sounds quite different from the traditional forms of poetry we will be introducing in this chapter. Even in free verse, however, where the writer may be turning away from formal patterns of rhyme and meter, we will often find patterns in the way he or she uses words, both for their sound and their rhythmic or accented values. Before looking at experimentation or variations in meter and rhyme, let’s consider the basic elements of what is known as prosody: the study of the metrical structure of verse.

F. Edwards begins his book Pascal’s Arithmetic Triangle by calling it “the most famous of all number patterns” (xii). A very early reference to this arrangement of numbers exists in a tenthcentury work by the mathematician al-Karaji of Baghdad. Others may be found in the eleventh-century work of the Persian mathematician-poet Omar Khayyám and in the thirteenth-century work of the Chinese mathematician Yang Hui. But it was Blaise Pascal’s careful analysis in his 1654 book Traite du Triangle Arithmetique that resulted in his name being associated with the triangle.

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