Mathematician:Emil Artin

Austrian-American mathematician mainly working in abstract algebra and topology.

Nationality
Austrian-American

History

 * Born: 3 March 1898, Vienna, Austria
 * Died: 20 Dec 1962, Hamburg, Germany

Theorems and Definitions

 * Artin Reciprocity Law
 * Artin-Wedderburn Theorem (with Joseph Wedderburn)
 * Artin-Zorn Theorem (with Max August Zorn)
 * Artinian Ring
 * Artinian Module
 * Artin's Conjecture on Primitive Roots
 * Artin Conjecture on L-Functions
 * Artin-Schreier Theorem (with Otto Schreier)
 * Artin-Schreier Theory (with Otto Schreier)
 * Artin-Schreier Polynomial (with Otto Schreier)
 * Artin-Schreier Extension (with Otto Schreier)
 * Artin Group
 * Ankeny-Artin-Chowla Congruence (with Nesmith Cornett Ankeny and Sarvadaman Chowla)
 * Artin Billiard
 * Artin-Hasse Exponential (with Helmut Hasse)
 * Artin-Rees Lemma (also known as Artin-Rees Theorem) (with David Rees)
 * Local Artin Symbol
 * Artin's Theorem on Alternative Algebras

Books, Publications, etc.

 * 1923: Über eine neue Art von L-Reihen
 * 1924: Ein Mechanisches System mit Quasi-Ergodischen Bahnen
 * 1927: Beweis des Allgemeinen Reziprozitätsgesetzes
 * 1927: Über die Zerlegung definiter Funcktionen in Quadrate
 * 1930: Idealklassen in Oberkörpern und allgemeines Reziprozitätsgesetzes
 * 1942:
 * 1947: The theory of braids
 * 1948: Rings with Minimum Condition (with C.J. Nesbitt and R.M. Thrall)
 * 1957: Geometric Algebra
 * 1961: Class field theory (with John Torrence Tate)
 * 1957: Geometric Algebra
 * 1961: Class field theory (with John Torrence Tate)

Notable Quotes

 * We all believe that mathematics is an art. The author of a book, the lecturer in a classroom tries to convey the structural beauty of mathematics to his readers, to his listeners. In this attempt he must always fail. Mathematics is logical to be sure; each conclusion is drawn from previously derived statements. Yet the whole of it, the real piece of art, is not linear; worse than that its perception should be instantaneous. We all have experienced on some rare occasions the feeling of elation in realizing that we have enabled our listeners to see at a moment's glance the whole architecture and all its ramifications. How can this be achieved? Clinging stubbornly to the logical sequence inhibits visualization of the whole, and yet this logical structure must predominate or chaos would result.

Also see

 * : Foreword