In 1906, Frigyes Riesz introduced a preliminary version of the notion of a topological space. He called it a mathematical continuum. This development can be traced back to the end of 1904 when, genuinely interested in taking up Hilbert’s foundations of geometry from 1902, Riesz aimed to extend Hilbert’s notion of a two-dimensional manifold to the three-dimensional case. Starting with the plane as an abstract point-set, Hilbert had postulated the existence of a system of neighbourhoods, thereby introducing the notion (...) of an accumulation point for the point-sets of the plane. Inspired by Hilbert’s technical approach, as well as by recent developments in analysis and point-set topology in France, Riesz defined the concept of a mathematical continuum as an abstract set provided with a notion of an accumulation point. In addition, he developed further elementary concepts in abstract point-set topology. Taking an abstract topological approach, he formulated a concept of three-dimensional continuous space that resembles the modern concept of a three-dimensional topological manifold. In 1908, Riesz presented his concept of mathematical continuum at the International Congress of Mathematicians in Rome. His lecture immediately won the attention of people interested in carrying on his research. They promoted his ideas, thus assuring their gradual reception by several future founders of general topology. In this way, Riesz’s work contributed significantly to the emergence of this discipline. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Building Literacy Bridges for Adolescents Using Holocaust Literature and TheatreWayne Brinda (bio)IntroductionDo you have a sibling or best friend whom you dared to do something? Did you ever slip surreptitiously into a place where you should not be? What if your best friend or sibling later became your enemy because of a situation beyond your control? Could that happen? What would you do? Think about those questions as you (...) read this excerpt from In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust and visualize the action:The boys look more alike than brothers. In fact, they are identical twins, indistinguishable in the smooth innocence of their faces, their wide brown eyes, and their hair, nearly shaven to their scalps to thwart the summer heat... At the entrance to the grand church of St. Stephen's Basilica in Budapest, the boys slip surreptitiously through the six-inch-wide opening of the formidable oak middle door, with its inlaid bronze portraits of the Hungarian kings. They giggle gleefully and a bit nervously as they peer into the dimly lit chamber, which feels refreshingly cool in contrast to the scorching afternoon sun they have just escaped. The twins mimic and build on each other's playful daring. Even their spirited laughter is identical, punctuated by squeals of delight... Let's go find his hand. What? St. Stephen's hand. I heard that his hand is kept in a golden box behind the altar somewhere. Let's go find it. No. We're not supposed to be back there. That's the craziest thing I ever heard—a king's hand inside a box in a church. He must have been pretty mad when they cut his hand off.1 [End Page 31]This small theatrical imaginative experience begins the adventure of two twin Hungarian Jewish boys who became caught up in World War II, the Holocaust, communism, and the aftermath.Those two boys became the father and uncle of the author, Eugene Pogany, who wrote In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust. Pogany recalls and tries to reconcile their experiences, differences, and conflicts with each other that lasted a lifetime and beyond. As educators and those who work with adolescents, we seek to reconcile the past experiences and conflicts our students have with reading by finding strategies that bridge adolescents and literature. Two powerful tools for building such bridges are nonfiction literature written about the experiences of young people and adults during and after the Holocaust and using theatre to bring these stories to life.McEwan noted that as literature becomes complex, adolescents tend to struggle with comprehension and may forgo the idea of discovering enjoyment.2 Incorporating nonfiction stories from the Holocaust with innovative theatre experiences of the literature into the curriculum can engage students in literature with complex themes, characters, and plots. This is especially true when the learning is assessed by using projects developed by, with, and for young adolescents. As a result, the literature becomes comprehensible, accessible, relevant, enjoyable, and aesthetically stimulating.As an educator, researcher, and artistic director of a theatre for young adults, I reflect on the charge by Snow and Biancarosa that educators need to "figure out how to ensure that every student gets beyond the basic literacy skills of the early-elementary grades, to the more challenging and more rewarding literacy of the middle and secondary school years."3 For some students, literacy bridges are gateways to new worlds, skills, and possibilities for enjoyment. For students who struggle with reading, those bridges are obstacles they are afraid or even refuse to cross because of past fears or failures. Even with guidance and support, many students will stop reading when the text becomes complex or never even attempt to read the book when they decide it has no relevancy or purpose after looking at its title, skimming the back, looking for pictures, or counting the pages.This leads to a question and thoughts that inspired my research on using Holocaust literature and theatre to engage young students in discovering, comprehending, visualizing, and aesthetically enjoying the literary experience:• What can be done in the... (shrink)

Cursul va contine patru parti pe urmatoarele filme si lucrarile: I. Andrei Tarkovski: “Solaris”, “Calauza”, “Nostalghia”, “Sacrificiul” - Friedrich Nietzsche si “eterna reintoarcere” - Mircea Eliade si “eterna reintoarcere” II. Wong Kar-wai: “In the mood for love”, “2046” III. Cristi Puiu: “Sieranevada” IV. Constantin Brancusi: Ansamblul de la Targu Jiu + sculpturile principale (Pasarea in zbor, Mlle Pogany, etc.).