Skip to main content Accessibility help
×
Hostname: page-component-8448b6f56d-wq2xx Total loading time: 0 Render date: 2024-04-24T07:51:22.618Z Has data issue: false hasContentIssue false

References

Published online by Cambridge University Press:  05 May 2013

Felipe Cucker
Affiliation:
City University of Hong Kong
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Manifold Mirrors
The Crossing Paths of the Arts and Mathematics
, pp. 395 - 401
Publisher: Cambridge University Press
Print publication year: 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbott, E. (1987). Flatland: A Romance of Many Dimensions. London: Penguin.Google Scholar
Abish, W. (1974). Alphabetical Africa. New York: New Directions Books.Google Scholar
Alberti, L. B. (1991). On Painting. London: Penguin. Translated by C., Grayson with introduction and notes by M., Kemp.Google Scholar
Alder, K. (2002). The Measure of All Things. New York: The Free Press.Google Scholar
Alperson, P. (2004). Music: formalism and beyond. In P., Kivy, ed., The Blackwell Guide to Aesthetics. Oxford: Blackwell. pp. 254–75.Google Scholar
Andersen, K. (2007). The Geometry of an Art. New York: Springer-Verlag.Google Scholar
Anglin, W. S. (1997). The Philosophy of Mathematics: The Invisible Art. Lewiston, NY: Edwin Mellen Press.Google Scholar
Antonova, C. (2010). On the problem of “reverse perspective”: definitions East and West. Leonardo, 43(5), 464–9.CrossRefGoogle Scholar
Arnheim, R. (1984). Art and Visual Perception: A Psychology of the Creative Eye. Berkeley, CA: University of California Press.Google Scholar
Asimov, I. (1983). The Universe: From Flat Earth to Black Holes and Beyond, 3rd edn. London: Penguin.Google Scholar
Balanchine, G. (1968). Balanchine's New Complete Stories af the Great Ballets. Garden City, NY: Doubleday. Edited by F., Mason with drawings by M., Becket.Google Scholar
Baloglou, G. (2007). Isometrica: A Geometrical Introduction to Planar Crystallographic Groups. Online version available at http://www.emis.de/monographs/Isometrica.Google Scholar
Banham, M. (1995). The Cambridge Guide to Theatre. Cambridge: Cambridge University Press.Google Scholar
Barber, E. J. W. (1991). Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages. Princeton, NJ: Princeton University Press.Google Scholar
Bazin, A. (1960). The ontology of the photographic image. Film Quarterly, 13(4), 4–9.CrossRefGoogle Scholar
Begley, W. (1992). Biblia Anagramatica. Whitefish, MT: Kessinger Publishing LLC. Reprint from the original 1904 edition published in London by Hazel, Watson, and Viney. Curiously, the original edition has two m's in Anagrammatica but the reprint spells the word in the cover with only one.Google Scholar
Belkin, K. L. (1998). Rubens. London: Phaidon.Google Scholar
Benson, D. (2007). Music: A Mathematical Offering. Cambridge: Cambridge University Press.Google Scholar
Bernstein, L. (1976). The Unanswered Question. Six Talks at Harvard. Cambridge, MA: Harvard University Press.Google Scholar
Birkhoff, G. D. (1933). Aesthetic Measure. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Blake, W. (1970). Songs of Innocence and Experience. Oxford: Oxford University Press.Google Scholar
Blunt, A. (1979). Borromini. Cambridge, MA: Harvard University Press.Google Scholar
Booker, P. J. (1963). A History of Engineering Drawing. London: Chatto & Windus.Google Scholar
Borges, J. L. (1964). Other Inquisitions. Austin, TX: University of Texas Press.Google Scholar
Bostock, D. (2009). Philosophy of Mathematics. Chichester: Wiley-Blackwell.Google Scholar
Bourdon, D. (1989). Warhol. New York: Harry N. Abrams, Inc.Google Scholar
Brewster, D. (1819). Treatise on the Kaleidoscope. Edinburgh: Archibald Constable & Co.Google Scholar
Bühler, W. K. (1981). Gauss: A Biographical Study. New York: Springer Verlag.CrossRefGoogle Scholar
Burke, E. (1990). A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. The World's Classics. Oxford: Oxford University Press.Google Scholar
Butler, S. (1967). Hudibras. Oxford: Oxford University Press.CrossRefGoogle Scholar
Caillois, R. (2001). Man, Play and Games. Urbana, IL: University of Illinois Press.Google Scholar
Campbell, G. (2001). The life records. In T. H., Corns, ed., A Companion to Milton. Oxford: Blackwell. pp. 483–98.Google Scholar
Carey, J. ed. (2000). John Donne: The Major Works. Oxford: Oxford University Press.
Carroll, L. (1993). Alice's Adventures in Wonderland & Through the Looking-Glass. Ware: Wordsworth.Google Scholar
Carroll, N. (2003). Dance. In J., Levinson, ed., The Oxford Handbook of Aesthetics. Oxford: Oxford University Press. pp. 583–93.Google Scholar
Cederberg, J. N. (2001). A Course in Modern Geometries, 2nd edn. Undergraduate Texts in Mathematics. New York: Springer-Verlag.CrossRefGoogle Scholar
Cheney, L. (1997). Stylistic problems in Mannerism and Maniera. In L., Cheney, ed., Readings in Italian Mannerism. New York: Peter Lang. pp. 1–8.CrossRefGoogle Scholar
Cook, T. A. (1979). The Curves of Life. New York: Dover Publications, Inc.Google Scholar
Coxeter, H. S. M. (1979). The non-Euclidean symmetry of Escher's picture “Circle Limit III”. Leonardo, 12, 19–25.CrossRefGoogle Scholar
Culler, J. (1997). Literary Theory: A Very Short Introduction. Oxford: Oxford University Press.Google Scholar
Da Vignola, J. B. (1987). Le Due Regole della Prospettiva Practica. Alburgh: Archival Facsimiles Limited. A reproduction of the copy in the British Library.Google Scholar
Da Vinci, L. (2002). A Treatise on Painting. New York: Prometheus Books.Google Scholar
Darwin, C. R. (1962). On the Various Contrivances by which British and Foreign Orchids are Fertilised by Insects. London: John Murray. Online version available at http://darwin-online.org.uk.Google Scholar
Davies, P. (2000). Antique Kilims of Anatolia. New York: W.W. Norton & Company.Google Scholar
Delacroix, E. (1938). The Journal of Eugène Delacroix. London: Jonathan Cape.Google Scholar
Descartes, R. (1954). The Geometry. New York: Dover Publications, Inc. Translated from the French and Latin by D. E., Smith and M. L., Latham. With a facsimile of the first edition.Google Scholar
Diderot, D. (2000). Art. In I., Frank, ed., The Theory of Decorative Art: An Anthology of European & American Writings, 1750–1940. New Haven: Yale University Press. pp. 139–49.Google Scholar
Dubery, F. and Willats, J. (1983). Perspective and Other Drawing Systems. New York: Van Nostrand Reinhold Co.Google Scholar
Dye, D. S. (1974). Chinese Lattice Designs. New York: Dover Publications, Inc.Google Scholar
Eckler, R. (1996). Making the Alphabet Dance. New York: St. Martin's Press.Google Scholar
Eco, U. (ed.) (2004). On Beauty: A History of a Western Idea. London: Secker & Warburg.
Edgerton, S. Y. (2009). The Mirror, the Window, and the Telescope. Ithaca, NY: Cornell University Press.Google Scholar
Einstein, A. (1926). Entry Space-Time in the 13th edition of the Encyclopedia Britannica.Google Scholar
Eliot, T. S. (1968). Four Quartets. London: The Folio Society.Google Scholar
Ellis, J. (1992). Visible Fictions. London: Routledge.Google Scholar
Elster, J. (1983). Sour Grapes. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Euclid, , (1956). The Thirteen Books of The Elements, 2nd edn. New York: Dover. Translated with introduction and commentary by Sir Thomas L., Heath.Google Scholar
Euripides, , (2000). Hecuba; The Trojan Women; Andromache. Oxford: Oxford University Press. Translated with explanatory notes by J., Morwood.Google Scholar
Fahr-Becker, G. (1994). Japanese Prints. Köln: Taschen.Google Scholar
Farish, W. (1822). On isometrical perspective. Transactions of the Cambridge Philosophical Society.Google Scholar
Feldman, M. (1985). Crippled symmetry. In W., Zimmermann, ed., Morton Feldman Essays. Köln: Beginner Press. pp. 124–37.Google Scholar
Feynman, R., Leighton, R. B. and Sands, M. (19631965). The Feynman Lectures on Physics. Reading, MA: Addison-Wesley.Google Scholar
Field, J. V. (2005). Piero della Francesca: A Mathematician's Art. New Haven, NJ: Yale University Press.Google Scholar
Fink, R.Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley, CA: University of California Press.
Flannagan, R. (2002). John Milton. Oxford: Blackwell Publishing.CrossRefGoogle Scholar
Flocon, A. and Barre, A. (1987). Curvilinear Perspective. Berkeley, CA: University of California Press.Google Scholar
Ford, P. R. J. (1989). Oriental Carpet Design. London: Thames and Hudson.Google Scholar
Fong, W. and Fu, M. (1973). Metropolitan Museum of Art (New York, NY). Sung and Yuan Paintings. New York: distributed by New York Graphic Society.Google Scholar
Forkel, J. N. (1920). Johann Sebastian Bach. His Life, Art, and Work. London: Constable and Co.Google Scholar
Fry, E. F. (1966). Cubism. London: Thames and Hudson.Google Scholar
Gao, J. (1996). The Expressive Act in Chinese Art. Uppsala: Academiae Ubsaliensis.Google Scholar
Gluck, C. W. (1962). Collected Correspondence and Papers. New York: St. Martin's Press. Edited by H. and E. H. Mueller, von Asow. Translated by S., Thomson.Google Scholar
Gödel, K. (1967). The completeness of the axioms of the functional calculus. In J., van Heijenoort, ed., A Source Book in Mathematical Logic. Cambridge, MA: Harvard University Press. pp. 582–91.Google Scholar
Gombrich, E. H. (1982). The Image and the Eye: Further Studies in the Psychology of Pictorial Representation. London: Phaidon.Google Scholar
Gombrich, E. H. (1984). The Sense of Order, 2nd edn. London: Phaidon.Google Scholar
Gombrich, E. H. (1989). The Story of Art, 15th edn. Englewood Cliffs, NJ: Prentice Hall.Google Scholar
Greenberg, M. J. (1993). Euclidean and Non-Euclidean Geometries, 3rd edn. New York: W.H. Freeman and Company.Google Scholar
Greene, G. (1990). In memory of Borges. In Reflections, London: Penguin Books. pp. 306–7.Google Scholar
Hanslick, E. (1986). On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music. Indianapolis, IN: Hackett. Translated by G., Payzant.Google Scholar
Harrison, C. and Wood, P. (eds). (1992). Art in Theory: 1900–2000, An Anthology of Changing Ideas. Oxford: Blackwell.
Hartshorne, R. (1997). Geometry: Euclid and Beyond, 2nd edn. Undergraduate Texts in Mathematics. New York: Springer-Verlag.Google Scholar
Hauser, A. (1962). The Social History of Art. London: Routledge. Four volumes edition.Google Scholar
Hilbert, D. (1987). Foundations of Geometry, 2nd edn. Chicago: Open Court.Google Scholar
Hironobu, K. (1991). Narrative illustration in the handscroll format. In A., Murck and W. C., Fong, eds, Words and Images: Chinese Poetry, Calligraphy, and Painting. New York: The Metropolitan Museum of Art. pp. 247–66.Google Scholar
Hodges, W. (2003). The geometry of music. In J., Fauvel, R., Flood and R., Wilson, eds, Music and Mathematics: From Pythagoras to Fractals. Oxford: Oxford University Press. pp. 91–111.Google Scholar
Hofstadter, D. (1979). Gödel, Escher, Bach: An Eternal Golden Braid. New York: Basic Books.Google Scholar
Hofstadter, D. (2002). Mystery, classicism, elegance: an endless chase after magic. In D., Schattschneider and M., Emmer, eds, M.C. Escher's Legacy: A Centennial Celebration. Berlin: Springer-Verlag, pp. 24–51.Google Scholar
Hogarth, W. (1753). The Analysis of Beauty, Written with a View of Fixing the Fluctuating Ideas of Taste. London.Google Scholar
Horemiss, S. (1970). Optical and Geometrical Patterns and Designs. New York: Dover Publications, Inc.Google Scholar
Huizinga, J. (1998). Homo Ludens: A Study of the Play-Element in Culture. London: Routledge.Google Scholar
Jablan, S. V. (2002). Symmetry, Ornament and Modularity. Singapore: World Scientific. An online version is available at http://www.emis.de/monographs/jablan.CrossRefGoogle Scholar
Jastrow, J. (1900). Fact and Fable in Psychology. Boston: Houghton Mifflin.CrossRefGoogle Scholar
Johnson, S. (1984). Samuel Johnson: The Major Works.Oxford: OxfordUniversity Press. Edited with an introduction and notes by D., Greene.Google Scholar
Jones, O. (2001). Grammar of Ornament. New York: Dorling Kindersley.Google Scholar
Kant, I. (1952). Critique of Judgement. Oxford: Oxford University Press. Translated by J. C., Meredith.Google Scholar
Kant, I. (1997). Critique of Pure Reason. Cambridge: Cambridge University Press. Translated and edited by P., Guyer and A. W., Wood.Google Scholar
Kierkegaard, S. (1964). Repetition. An Essay in Experimental Psychology. New York: Harper & Row.Google Scholar
Kivy, P. (1993). The Fine Art of Repetition: Essays in the Philosophy of Music, Cambridge: Cambridge University Press. pp. 327–59.Google Scholar
Kivy, P. (ed.) (2004). The Blackwell Guide to Aesthetics. Oxford: Blackwell Publishing.CrossRef
Kivy, P. (2009). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. Oxford: Oxford University Press.CrossRefGoogle Scholar
Krautheimer, R. in collaboration with T., Krautheimer-Hess. (1970). Lorenzo Ghiberti. Princeton, NJ: Princeton University Press.Google Scholar
Kristeller, P. O. (1965). The modern system of the arts. In P. O., Kristeller, ed., Renaissance Thought II: Papers on Humanism and the Arts. New York: Harper & Row. pp. 163–227.Google Scholar
Langer, S. (ed.) (1953). Feeling and Form. New York: Scribners.
Lanham, R. A. (1991). A Handlist of Rhetorical Terms. Berkeley, CA: University of California Press.Google Scholar
Levinson, A. (1974). The spirit of the classic dance. In S. J., Cohen, ed., Dance as a TheatreArt. New York: Dodd, Mead & Co. pp. 113–17.Google Scholar
Lew, J. (1989). Making city planning a game. The New York Times, 15 June.Google Scholar
Lorand, R. (2000). Aesthetic Order: A Philosophy of Order, Beauty and Art. London: Routledge.CrossRefGoogle Scholar
Lucie-Smith, E. (1995). Artoday. London: Phaidon.Google Scholar
Luminet, J.-P. (2008). The Wraparound Universe. Wellesley, MA: A K Peters, Ltd.CrossRefGoogle Scholar
Mackenzie, C. (1955). My Record of Music. New York: Putnam.Google Scholar
Manetti, A. (1970). The Life of Brunelleschi. University Park, PA: The Pennsylvania State University Press. Introduction, notes and critical text edition by H., Saalman.Google Scholar
Manguel, A. (2006). With Borges. London: Telegram Books.Google Scholar
Martin, J. (ed.) (1972). The Modern Dance. Brooklyn, NY: Dance Horizons.
Mathews, H. and Brotchie, A. (ed.) (1998). Oulipo Compendium. London: Atlas Press.
McArthur, T. (1995). Rhythm, rhyme and reason: the power of patterned sound. In R., Beard, ed., Rhyme: Reading and Writing. London: Hodder & Stoughton. pp. 23–41.Google Scholar
McCausland, S. (ed.) (2003). Gu Kaizhi and the Admonitions Scrolls. London: The British Museum Press.
Mertens, W. (1983). American Minimal Music. London: Kahn & Averill.Google Scholar
Motte, W. F. Jr (ed.) (1998). Oulipo: A Primer of Potential Literature. Normal, IL: Dalkey Archive Press.
Mukarrovský, J. (1978). The aesthetic norm. In J., Mukarrovský, ed., Structure, Sign, and Function: Selected Essays. New Haven, CT: Yale University Press. pp. 49–54. Translated and edited by J., Burbank and P., Steiner.Google Scholar
Oliver, M. (1998). Rules for the Dance: A Handbook for Writing and Reading Metrical Verse. Boston, MA: Houghton Mifflin Co.Google Scholar
Ortega y Gasset, J. (1968). The Dehumanization of Art and Other Essays on Art, Culture, and Literature. Princeton, NJ: Princeton University Press.Google Scholar
Owen, R. (2008). Piero della Francesca masterpiece ‘holds clue to 15th-century murder”. The Sunday Times, 23 January.Google Scholar
Pamuk, O. (2001). My Name is Red. London: Faber and Faber. English translation by E., Göknar.Google Scholar
Panofsky, E. (1971). The Life andArt of Albrecht Dürer. Princeton, NJ: Princeton University Press.Google Scholar
Panofsky, E. (1991). Perspective as Symbolic Form. New York: Zone Books.Google Scholar
Pater, W. (1986). The Renaissance. Studies in Art and Poetry. The World's Classics. Oxford: Oxford University Press.Google Scholar
Penrose, L. S. and Penrose, R. (1958). Impossible objects: a special type of visual illusion. British Journal of Psychology, 49, 31–3.CrossRefGoogle ScholarPubMed
Perec, G. (1969). La Disparition. Paris: Denoël.Google Scholar
Perec, G. (1972). Les Revenentes. Paris: Editions Julliard.Google Scholar
Perec, G. (1986). History of the lipogram. In W. F., Motte Jr, ed., Oulipo: A Primer of Potential Literature. Normal, IL: Dalkey Archives Press. pp. 97–108.Google Scholar
Perec, G. (1995). A Void. London: Harvill Press. A translation of La Disparition by G., Adair.Google Scholar
Perec, G. (1996). The Exeter text: jewels, secrets, sex. In Three by Perec. Jaffrey, NH: David R. Godine – Publisher. pp. 55–120. A translation of Les Revenentes by I., Monk.Google Scholar
Piaget, J. (1977). The Moral Judgement of the Child. London: Penguin.Google Scholar
Pirenne, M. H. (1970). Optics, Painting & Photography. Cambridge: Cambridge University Press.Google Scholar
Plato, . (1994). Republic. Oxford: Oxford University Press. Translated by R., Waterfield.Google Scholar
Pope, A. (1966). Selected Poetry. The World's Classics. Oxford: Oxford University Press.Google Scholar
Propp, V. (1968). Morphology of the Folktale. Austin, TX: University of Texas Press. Translated by L., Scott.Google Scholar
Prout, E. (1890). Counterpoint: Strict and Free. London: Augener.Google Scholar
Prout, E. (1903). Harmony: Its Theory and Practice. London: Augener.Google Scholar
Rahn, J. (2000). Music Inside Out: Going Too Far in Musical Essays. London: Routledge.Google Scholar
Read, H. (1961). Art and Industry. New York: Horizon Press.Google Scholar
Reichardt, J. (1974). Pop art. In T., Richardson and N., Stangos, eds, Concepts of Modern Art. Harmondsworth: Penguin Books. pp. 238–42.Google Scholar
Richards, I. A. (1995). Principles of Literary Criticism. London: Routledge.Google Scholar
Robbins Landon, H. C. (1961). A pox on Manfredini. High Fidelity, 11(6), 38–9, 86–7.Google Scholar
Robson, J. (ed.) (1997). Music and Meaning. Ithaca, NY: Cornell University Press.
Rodríguez, H. (2006). Metaesthesis. In K., Oosterhuis and L., Feireiss, eds, Game-SetAndMatch II. On Computer Games, Advanced Geometries and Digital Technologies. Rotterdam: Episode Publishers. pp. 574–81.Google Scholar
Rodríguez, H. (2008). Constraint, cruelty and conversation. In M., Hjort, ed., dekalog 1: On The Five Obstructions. London: Wallflower Press. pp. 38–56.Google Scholar
Rollins, A. and Adams, E. (2003). Andrew Rollins and Ernest Adams on Game Design. Indianapolis, IN: New Riders.Google Scholar
Sacks, O. (2008). Musicophilia. London: Picador.Google Scholar
Sarduy, S. (1974). Barroco. Buenos Aires: Sudamericana.Google Scholar
Schattschneider, D. (1990). Visions of Symmetry: Notebooks, Periodic Drawings, and Related Work of M.C. Escher. New York: W.H. Freeman.Google Scholar
Seckel, A. (2004). Masters of Deception. New York: Sterling Publishing Co.Google Scholar
Shakespeare, W. (1951). The Complete Works. London: Collins. With an introduction and glossary by P., Alexander.Google Scholar
Silbergeld, J. (1982). Chinese Painting Style: Media, Methods, and Principles of Form. Seattle, WA: University of Washington Press.Google Scholar
Soames, S. (2003). Philosophical Analysis in the Twentieth Century, volume 1. Princeton, NJ: Princeton University Press.Google Scholar
Sontag, S. (1967). Against Interpretation and Other Essays. London: Eyre & Spottiswoode.Google Scholar
Stravinsky, I. (1960). Poetics of Music. New York: Random House.Google Scholar
Strunk, O. (ed.) (1980). Source Readings in Music History. New York: W.W. Norton.
Summers, D. (2003). Real Spaces: World Art History and the Rise of Western Modernism. London: Phaidon.Google Scholar
Summers, J. (1994). Oriental Rugs. New York: Crown Publishers, Inc.Google Scholar
Tarski, A. (1959). What is elementary geometry? In L., Henkin, P., Suppes and A., Tarski, eds, The Axiomatic Method. Amsterdam: North-Holland. pp. 16–29.Google Scholar
Tent, M. B. W. (2006). The Prince of Mathematics: Carl Friedrich Gauss. Wellesley, MA: A K Peters, Ltd.Google Scholar
Thompson, D. W. (1961). On Growth and Form. Cambridge: Cambridge University Press. Abridged and edited by J. T., Bonner.Google Scholar
Todd, S. and Latham, W. (1992). Evolutionary Art and Computers. London: Academic Press.Google Scholar
Van Briessen, F. (1998). The Way of the Brush. Painting Techniques of China and Japan. Boston, MA: Tuttle Publishing.Google Scholar
Van Gogh, V. (2009). The Letters, volume 4. London: Thames and Hudson. Edited by L., Jansen, H., Luitjen and N., Bakker.Google Scholar
Van Sijll, J. (2005). Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. Studio City, CA: Michael Wiese Productions.Google Scholar
Vasari, G. (1991). The Lives of the Artists. Oxford: Oxford University Press.Google Scholar
Vitruvius, M. (1999). De Architectura. Cambridge: Cambridge University Press. Translated from Latin by I. D., Rowland.Google Scholar
Weeks, J. R. (1985). The Shape of Space. New York: Marcel Dekker.Google Scholar
Weyl, H. (1952). Symmetry. Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar
Willats, J. (1997). Art and Representation. Princeton, NJ: Princeton University Press.Google Scholar
Wu, H. (1996). The Double Screen: Medium and Representation in Chinese Painting. London: Reaktion Books.Google Scholar
Wulff, O. (1907). Die ungekehrte Perspektive und die Niedersicht. Eine Raumanschauungsform der albyzantischen Kunst und ihre Fortbildung in der Renaissance. In H., Weizsäcker, ed., Kunstwissenschaftliche Beiträge August Schmarsow gewidmet zum fünfzigsten Semester seiner akademischen Lehrtätigkeit. Leipzig: K.W. Hiersemann. pp. 3–42.Google Scholar
Wynn, T. (2002). Archaeology and cognitive evolution. Behavioral and Brain Sciences, 25, 389–402.CrossRefGoogle ScholarPubMed
Yeats, W. B. (2001). Yeats's Poems. Basingstoke: Palgrave. Edited and annotated by A.N., Jeffares.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • References
  • Felipe Cucker, City University of Hong Kong
  • Book: Manifold Mirrors
  • Online publication: 05 May 2013
  • Chapter DOI: https://doi.org/10.1017/CBO9781139014632.018
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • References
  • Felipe Cucker, City University of Hong Kong
  • Book: Manifold Mirrors
  • Online publication: 05 May 2013
  • Chapter DOI: https://doi.org/10.1017/CBO9781139014632.018
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • References
  • Felipe Cucker, City University of Hong Kong
  • Book: Manifold Mirrors
  • Online publication: 05 May 2013
  • Chapter DOI: https://doi.org/10.1017/CBO9781139014632.018
Available formats
×