Classical Fractals and Self-Similarity

1992 ◽  
pp. 63-134 ◽  
Author(s):  
Heinz-Otto Peitgen ◽  
Hartmut Jürgens ◽  
Dietmar Saupe
Keyword(s):  
Self Similarity

The Scientist-Self Similarity Score: Gender and Differences in STEM Career Commitment

2014 ◽  
Author(s):  
Debra Paxton ◽  
Mary Wyer ◽  
Sylvia Nassar-Mcmillan
Keyword(s):  
Career Commitment ◽  
Similarity Score ◽  
Self Similarity ◽  
Stem Career

Self-Similarity: Nature's Stamp of Identity

2007 ◽  
Author(s):  
Terry Marks-Tarlow
Keyword(s):  
Self Similarity

Self-similarity in the regions of the cooperative displacement

2000 ◽  
Vol 10 (PR7) ◽  
pp. Pr7-47-Pr7-50 ◽  
Author(s):  
T. Muranaka
Keyword(s):  
Self Similarity

Beckett's Broken Circle: A Literary Fractal

2020 ◽  
Vol 29 (2) ◽  
pp. 196-215
Author(s):  
Luke Connolly
Keyword(s):  
Dynamic Chaos ◽  
Geometric Form ◽  
Self Similarity ◽  
Collision Point ◽  
Stable Order ◽  
Structural Principle ◽  
Recent Interest ◽  
Viable Solution ◽  
Specific Shape

This essay proposes that the picture of a broken circle encountered by Watt during the second part of his tale marks a crucial collision point between Beckett's literary and mathematical interests and triggers a process of fractal scaling self-similarity. Building on recent interest concerning the role of the mathematics and mathematical forms found in Beckett's work, I argue that the broken circle depicted in the picture from Watt is a geometric form which (re)appears within at least three interlocking scales throughout Beckett's novel-length prose: (i) its moment of arrival in the picture from Watt, (ii) a macroscopic reinscription in the names of the protagonists populating the five novels spanning Watt through to The Unnamable and (iii) buried within the narratological depths of How It Is. As a structural principle, the interminable irregularity of fractals offered Beckett a viable solution for what he considered the defining task of the modern artist: ‘to find a form to accommodate the mess’. Moreover, the specific shape selected for his fractal is shown to contain within its geometry one of Beckett's most universal and pressing concerns: the inevitable insufficiency of language. Therefore, although this essay restricts itself to examining Beckett's novel-length prose, the idea of a broken circle fractal promises to provide a valuable heuristic through which to reassess the author's other generic avenues. Fractals thus offer a means through which one can bind together the length and breadth of Beckett's oeuvre without ever reducing dynamic chaos to stable order.

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