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A UNIVERSAL HISTORY OF NUMBERS

Name: A UNIVERSAL HISTORY OF NUMBERS
Author: Georges Ifrah
ISBN: 0-471-37568-3

FROM PREHISTORY TO THE INVENTION OF THE COMPUTER

by Georges Ifrah & translated by David Bellos ‧ RELEASE DATE: Jan. 14, 2000

A must for any library—and a wonderful gift for anthropologists, ethnographers, cultural historians, and quiz kids.

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Ifrah’s monumental follow-up to From One to Zero (1993) goes from one to (almost) infinity as he meticulously reviews the numbers and reckoning systems of countless tribes and cultures in a dazzling scholarly performance.

“Performance” is the operative word here, for not only does Ifrah enumerate the words and symbols used for arithmetic, but he also explains how to use each system, providing illustrations, diagrams, riddles, and puzzles. Indeed, nearly every page displays handsome numerals, counting devices, and illustrations of their use. Ifrah takes the human body as the aboriginal point of reference for most counting systems—fingers and toes producing systems using 5, 10, or 20 as a base. But 12, 60, and 360 have also been used, usually by cultures that attached more importance to the sky than to their anatomy. Ifrah gives special credit to the Mayans for their extraordinary adeptness at astronomical measurements, which calculated the length of the solar year as 365.242 days and the month at 29.53086 days. He commends India for the invention of zero—the placeholder in counting systems that use positional notation to indicate the different values, for instance, of 1, 10, and 100. A recurring theme is the intimate relation between number systems and written language. Just as the invention of alphabets allows the generation of myriad words, advanced number systems can use a limited number of symbols to represent any large number. A quibble or two: Ifrah frequently asserts that our brains cannot instantly number a collection of more than four objects, though psychologists maintain we can recognize up to seven objects without counting. And since many statements on the origins of systems and borrowings across cultures are speculative, they are subject to change in light of recent discoveries.

A must for any library—and a wonderful gift for anthropologists, ethnographers, cultural historians, and quiz kids.

Pub Date: Jan. 14, 2000

ISBN: 0-471-37568-3

Page Count: 656

Publisher: Wiley

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 1, 1999

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE UNIVERSAL HISTORY OF COMPUTING
by Georges Ifrah & translated by E.F. Harding

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.