Cao Xueqin, Dream of the Red Chamber (1715-1764)
Death in literature is an elementary metaphor, as the fear of death is one of our Id’s primal impulses, together with the sexual urge to reproduce and overcome it. The resurrection of our mind is the symbol for the cycle of life, the seasons, birth and death, crucifixion and resurrection, destruction and creation, night and day, there’s probably nothing more universal, nothing more primal than death and life. The article in the Guardian In theory: the death of literature is a great short essay that analyzes the perspective of the Romantics on death in literature as an elementary original perspective that lays at the root of the birth of the modern novel. It’s a very original view with lots of references in high overview, which makes it easy to make any argument, but it’s convincing until midway when the argument becomes an old man’s lamentation on modern times. Here is where the author Andrew Gallix the other essence of the Romantics in my opinion, namely the overcoming of the fear of death in favor of a naive and blind will for creation, this resurrection of the conscious mind is what represents the true power of the Romantic era. In the face of death we are not afraid to throw ourselves in the abyss and love.
In Dangerous Knowledge – BBC, Georg Cantor’s Continuum Hypothesis and Georg Cantor‘s life is described. Cantor was obsessed with the problem of infinity. Cantor reminds me Pythagoras, who founded a religious school of Pythagoreans who searched the divine truth by revealing the mathematical formulas that described nature.
Boltzmann defined a breakthrough in the field of probability, which is crucial for the theory of entropy and chaos.
Russia’s first television production of The Master and Margarita, the novel by Mikhail Bulgakov. Vladimir Bortko is the director and screenwriter of the new adaptation. The mini-series of ten 52-minute episodes was first screened on the state television channel “Ð Ð¾ÑÑÐ¸Ñ” (“Russia”) on December, 2005. The Master and Margarita is a novel by Mikhail Bulgakov, woven about the premise of a visit by the Devil to the fervently atheistic Soviet Union. Many critics consider the book to be one of the greatest novels of the 20th century, as well as one of the foremost Soviet satires, directed against a suffocatingly bureaucratic social order.
Dr. Mandelbrot coined the term â€œfractalâ€ to refer to a new class of mathematical shapes whose uneven contours could mimic the irregularities found in nature.