This volume explores the interaction of poetry and mathematics by looking at analogies that link them. The form that distinguishes poetry from prose has mathematical structure (lifting language above the flow of time), as do the thoughtful ways in which poets bring the infinite into relation with the finite. The history of mathematics exhibits a dramatic narrative inspired by a kind of troping, as metaphor opens, metonymy and synecdoche elaborate, and irony closes off or shifts the growth of mathematical knowledge. The first part of the book is autobiographical, following the author through her discovery of these analogies, revealed by music, architecture, science fiction, philosophy, and the study of mathematics and poetry. The second part focuses on geometry, the circle and square, launching us from Shakespeare to Housman, from Euclid to Leibniz. The third part explores the study of dynamics, inertial motion and transcendental functions, from Descartes to Newton, and in 20th c. poetry. The final part contemplates infinity, as it emerges in modern set theory and topology, and in contemporary poems, including narrative poems about modern cosmology.
This book deals with a topic that has been largely neglected by philosophers of science to date: the ability to refer and analyze in tandem. On the basis of a set of philosophical case studies involving both problems in number theory and issues concerning time and cosmology from the era of Galileo, Newton and Leibniz up through the present day, the author argues that scientific knowledge is a combination of accurate reference and analytical interpretation. In order to think well, we must be able to refer successfully, so that we can show publicly and clearly what we are talking about. And we must be able to analyze well, that is, to discover productive and explanatory conditions of intelligibility for the things we are thinking about. The book’s central claim is that the kinds of representations that make successful reference possible and those that make successful analysis possible are not the same, so that significant scientific and mathematical work typically proceeds by means of a heterogeneous discourse that juxtaposes and often superimposes a variety of kinds of representation, including formal and natural languages as well as more iconic modes. It demonstrates the virtues and necessity of heterogeneity in historically central reasoning, thus filling an important gap in the literature and fostering a new, timely discussion on the epistemology of science and mathematics.
This book deals with a topic that has been largely neglected by philosophers of science to date: the ability to refer and analyze in tandem. On the basis of a set of philosophical case studies involving both problems in number theory and issues concerning time and cosmology from the era of Galileo, Newton and Leibniz up through the present day, the author argues that scientific knowledge is a combination of accurate reference and analytical interpretation. In order to think well, we must be able to refer successfully, so that we can show publicly and clearly what we are talking about. And we must be able to analyze well, that is, to discover productive and explanatory conditions of intelligibility for the things we are thinking about. The book’s central claim is that the kinds of representations that make successful reference possible and those that make successful analysis possible are not the same, so that significant scientific and mathematical work typically proceeds by means of a heterogeneous discourse that juxtaposes and often superimposes a variety of kinds of representation, including formal and natural languages as well as more iconic modes. It demonstrates the virtues and necessity of heterogeneity in historically central reasoning, thus filling an important gap in the literature and fostering a new, timely discussion on the epistemology of science and mathematics.
This volume explores the interaction of poetry and mathematics by looking at analogies that link them. The form that distinguishes poetry from prose has mathematical structure (lifting language above the flow of time), as do the thoughtful ways in which poets bring the infinite into relation with the finite. The history of mathematics exhibits a dramatic narrative inspired by a kind of troping, as metaphor opens, metonymy and synecdoche elaborate, and irony closes off or shifts the growth of mathematical knowledge. The first part of the book is autobiographical, following the author through her discovery of these analogies, revealed by music, architecture, science fiction, philosophy, and the study of mathematics and poetry. The second part focuses on geometry, the circle and square, launching us from Shakespeare to Housman, from Euclid to Leibniz. The third part explores the study of dynamics, inertial motion and transcendental functions, from Descartes to Newton, and in 20th c. poetry. The final part contemplates infinity, as it emerges in modern set theory and topology, and in contemporary poems, including narrative poems about modern cosmology.
Emily Grosholz weaves elements of philosophy, mathematics and the sciences into her experience of the social and natural world, to produce wise and cosmopolitan poetry of high lyricism. The Stars of Earth starts with new poems chronicling the months of a year lived and observed, followed by selections from Grosholz’s previous volumes in chronological order. This rare treasury spans four decades of Grosholz’s acclaimed poetry. PRAISE FOR THE STARS OF EARTH: Emily Grosholz is a poet of radiant intelligence, patient lyricism, and meticulous craft. She has a gifted naturalist’s regard for the living world and wherever she looks that world, for its part, offers her its poetry. With a philosopher’s wit and a mathematician’s eye for beauty, she can link geometry and physics to the apricot color of a robin’s breast. She also writes with great empathy for her subjects. The Stars of Earth collects four decades of her elegant and excellent work. We are lucky to have it. — Mark Jarman, author of The Heronry Compressed on the page then wafting ever outward on wings of imagination, fine poetry and fine theorems are first cousins. Or, more rarely, in poems like Emily Grosholz’s, twins: “Timid and fluid rainbows/ Over the nacreous surfaces/ Of shells, on peacock feathers/ And soap-bubbles, appear/ Whenever incident light/ Reflects off nether and upper/ Laminae of films, one wave train/ Tagging after another/ Like a younger sister.” Read this book. — Marjorie Senechal, author of Shaping Space I admire Emily Grosholz because of the sounds her poems make. She is always experimenting, even when the results seem effortless. The cunning irregularities are what most compel: the reader is never allowed to relax. The general readers among us are admitted courteously to the civilizing company. The heart, not as a hackneyed valentine but as a living muscle, is always present as pulse and passion. The overwhelming sense these poems give is of affirmation. — Michael Schmidt, author of New and Collected Poems The Stars of Earth is that rarest of books. Emily Grosholz chronicles everything from love to loss, childhood to marriage to parenthood. She explores two continents and the minds of scientists, artists, friends, long-lost family. And as befits a poet-philosopher whose pursuits include the philosophy of mathematics, she achieves potent mixes of the daily and the deep: Nietzschean thought served up in a deli; a toddler’s first steps along “the frail parabolas of love.” — Melissa Balmain, author of Walking in on People
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