
Preface, p. iii
The Differential and Integral Calculus (1836)
W. W. Rouse Ball, History of Mathematics, (London, 1901), p. 463;
Preface, p. iii
The Differential and Integral Calculus (1836)
In : John Cunningham Wood (1993), Léon Walras: The life of Léon Walras and perspectives on his thought. Taylor & Francis, p. 32-33.
Source: Mathematical Thought from Ancient to Modern Times (1972), p. 495
Source: Ladislao de Gauss, una monografia per riscoprire un pittore dimenticato http://www.museorevoltella.it/news.php?id_news=488, museorevoltella.it, July 15th 2010.
As quoted by Alexander Macfarlane, Lectures on Ten British Physicists of the Nineteenth Century (1916) p. 95, https://books.google.com/books?id=43SBAAAAIAAJ&pg=PA95 "Henry John Stephen Smith (1826-1883) A Lecture delivered March 15, 1902"
"Books of the Times" in The New York Times (6 July 1981)
Context: The magaicians of the 19th century, enthralled by the science of optics, photography and electricity, opened the door to motion pictures and thereby rendered themselves obsolete. Any amateur with a pair of scissors can cut and edit a strip of film in order to make a woman vanish, sever a head, burn a body down to the skeleton and reverse time. Talent went out of style.… People either didn't believe Houdini when he said that his tricks on film were real, or they didn't care. Illusion became big bigness, and the magicians were out of work.
Nobel lecture http://nobelprize.org/nobel_prizes/literature/laureates/1980/milosz-lecture-en.html (8 December 1980)
“In modern American style, his job, not his past, defined him.”
"The Wit of George S. Kaufman and Dorothy Parker," p. 162
The Good Word & Other Words (1978)
The Aristos (1964)
Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61