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Titlebook: History of Continued Fractions and Padé Approximants; Claude Brezinski Book 1991 Springer-Verlag Berlin Heidelberg 1991 Geschichte der Mat

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樓主: Tamoxifen
21#
發(fā)表于 2025-3-25 07:06:02 | 只看該作者
Introduction,he greatest common divisor at least three centuries B.C. As it is often the case and like Monsieur Jourdain in Molière’s “l(fā)e bourgeois gentilhomme” (who was speaking in prose though he did not know he was doing so), continued fractions were used for many centuries before their real discovery.
22#
發(fā)表于 2025-3-25 09:14:28 | 只看該作者
23#
發(fā)表于 2025-3-25 14:00:58 | 只看該作者
24#
發(fā)表于 2025-3-25 17:53:17 | 只看該作者
Golden Age,ing mathematicians, Euler, Lambert and Lagrange, all belonging to the Berlin Academy of Sciences which was reorganized by Frederic the second (Berlin, 24.1.1712—Berlin, 17.8.1786). The 18th century was also that of the birth of Padé approximants, which are connected with continued fractions and play
25#
發(fā)表于 2025-3-25 21:00:48 | 只看該作者
Maturity,ar in many countries. An army of mathematicians, among them most of the famous ones, contributed to the development of continued fractions and in their application to various problems of mathematics and physics.
26#
發(fā)表于 2025-3-26 03:18:54 | 只看該作者
The Modern Times, that period are mostly the continuation of those proved during the nineteenth century and the border with the preceding chapter is mainly arbitrary. This is, in particular, true for the work of Padé himself, which extends from 1892 to 1907. However, since a division was necessary after so long a ch
27#
發(fā)表于 2025-3-26 08:23:00 | 只看該作者
pedagogy would look like: where culture is neither seen as a benign form of inclusion nor as a hegemonic veil by which we are all subscribed to the system via popularized forms of artistic and cultural immediacy. An exit pedagogy—as prefigured in what could be called art’s way out through the imple
28#
發(fā)表于 2025-3-26 12:12:50 | 只看該作者
29#
發(fā)表于 2025-3-26 14:37:02 | 只看該作者
30#
發(fā)表于 2025-3-26 18:58:59 | 只看該作者
Claude Brezinski pedagogy would look like: where culture is neither seen as a benign form of inclusion nor as a hegemonic veil by which we are all subscribed to the system via popularized forms of artistic and cultural immediacy. An exit pedagogy—as prefigured in what could be called art’s way out through the imple
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