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carey+street

  • 1 Carey Street

    Carey Street [ˈkeərı] s Br Bankrott m:
    bring sb into Carey Street jemanden bankrott machen;
    lead down Carey Street zum Bankrott führen

    English-german dictionary > Carey Street

  • 2 Carey Street

    \/ˈkeərɪstriːt\/
    forklaring: gate i London der konkursdomstolen lå før
    on Carey Street i gjeld, konkurs

    English-Norwegian dictionary > Carey Street

  • 3 Carey Street

    Кари-стрит (улица в Лондоне, на которой находится отделение Верховного Суда по делам о несостоятельности) банкротство, несостоятельность

    Большой англо-русский и русско-английский словарь > Carey Street

  • 4 carey street

    [ʹke(ə)rıstri:t]
    1) Кари-стрит (улица в Лондоне, на которой находится отделение Верховного Суда по делам о несостоятельности)
    2) банкротство, несостоятельность

    НБАРС > carey street

  • 5 Carey Street

    Кэри-стрит; улица в Лондоне, название которой является синонимом банкротства; в прошлом там были расположены все юридические фирмы, специализирующиеся на банкротствах.

    Англо-русский экономический словарь > Carey Street

  • 6 Carey Street

    1. Кэри-стрит, улица в Лондоне, на которой расположено отделение Верховного суда по делам о несостоятельности;
    2. банкротство, несостоятельность.
    * * *
    1) Кэри-стрит, улица в Лондоне, на которой расположено отделение Верховного суда по делам о несостоятельности;
    2) банкротство, несостоятельность.

    Англо-русский словарь по социологии > Carey Street

  • 7 Carey Street

    Общая лексика: Кари-стрит (улица в Лондоне, на которой находится отделение Верховного Суда по делам о несостоятельности), банкротство, несостоятельность

    Универсальный англо-русский словарь > Carey Street

  • 8 Carey Street

    Кэри-стрит
    банкротство, несостоятельность

    Англо-русский большой универсальный переводческий словарь > Carey Street

  • 9 Carey Street

    n. 케리가(런던의 파산 재판소가 있었음), 파산(상태)

    English-Korean dictionary > Carey Street

  • 10 Carey Street

    ['kɛərɪstriːt]
    Кэ́ри-Стрит (улица в центральной части Лондона, на кот. находится Лондонский суд по делам о несостоятельности [London Bankruptcy Court]; перен. тж. название самого суда)

    English-Russian Great Britain dictionary (Великобритания. Лингвострановедческий словарь) > Carey Street

  • 11 Carey Street

    1) Кэри-стрит (улица в Лондоне, на которой находится Лондонский суд по делам о несостоятельности; название самого суда)
    2) банкротство, несостоятельность
    Syn:

    Англо-русский современный словарь > Carey Street

  • 12 Carey Street

    1. Кари-стрит
    2. банкротство, несостоятельность

    English-Russian base dictionary > Carey Street

  • 13 Carey Street

    Британское выражение, означающее банкротство (bankruptcy).

    Англо-русский словарь по инвестициям > Carey Street

  • 14 be in carey street

    batmak, iflas etmek

    English-Turkish dictionary > be in carey street

  • 15 in carey street

    batak, iflas

    English-Turkish dictionary > in carey street

  • 16 be in carey street

    batmak, iflas etmek

    English-Turkish dictionary > be in carey street

  • 17 in carey street

    batak, iflas

    English-Turkish dictionary > in carey street

  • 18 street

    [striːt]
    сущ.

    broad / wide street — широкая улица

    bustling / congested / crowded street — многолюдная, шумная улица

    deserted / lonely street — пустынная улица

    in / on the street — на улице

    back street — глухая улица, закоулок

    cross street — поперечная улица; улица, пересекающая магистраль

    high street — брит. главная, центральная улица

    main street — амер. главная, центральная улица

    stop street — амер. главная дорога (улица, на пересечении с которой любая машина должна сделать полную остановку, прежде чем продолжать движение)

    through street — улица без светофоров; улица для скоростного движения

    - Carey Street
    Syn:
    2) люди, живущие на какой-л. улице

    The whole street knew about the accident. — Вся улица знала о происшествии.

    3) среда, в которой процветает проституция, нищета, преступность
    4) ( the Street) амер.; разг. деловой или финансовый центр ( обычно Уолл-стрит)
    ••

    to walk the streets, to be on the streets — заниматься проституцией

    to be in the same street with smb. — быть в одинаковом положении с кем-л.

    not in the same street with — несравненно ниже, слабее или хуже

    Англо-русский современный словарь > street

  • 19 Cross, Charles Frederick

    [br]
    b. 11 December 1855 Brentwood, Middlesex, England
    d. 15 April 1935 Hove, England
    [br]
    English chemist who contributed to the development of viscose rayon from cellulose.
    [br]
    Cross was educated at the universities of London, Zurich and Manchester. It was at Owens College, Manchester, that Cross first met E.J. Bevan and where these two first worked together on the nature of cellulose. After gaining some industrial experience, Cross joined Bevan to set up a partnership in London as analytical and consulting chemists, specializing in the chemistry and technology of cellulose and lignin. They were at the Jodrell laboratory, Kew Gardens, for a time and then set up their own laboratory at Station Avenue, Kew Gardens. In 1888, the first edition of their joint publication A Textbook of Paper-making, appeared. It went into several editions and became the standard reference and textbook on the subject. The long introductory chapter is a discourse on cellulose.
    In 1892, Cross, Bevan and Clayton Beadle took out their historic patent on the solution and regeneration of cellulose. The modern artificial-fibre industry stems from this patent. They made their discovery at New Court, Carey Street, London: wood-pulp (or another cheap form of cellulose) was dissolved in a mixture of carbon disulphide and aqueous alkali to produce sodium xanthate. After maturing, it was squirted through fine holes into dilute acid, which set the liquid to give spinnable fibres of "viscose". However, it was many years before the process became a commercial operation, partly because the use of a natural raw material such as wood involved variations in chemical content and each batch might react differently. At first it was thought that viscose might be suitable for incandescent lamp filaments, and C.H.Stearn, a collaborator with Cross, continued to investigate this possibility, but the sheen on the fibres suggested that viscose might be made into artificial silk. The original Viscose Spinning Syndicate was formed in 1894 and a place was rented at Erith in Kent. However, it was not until some skeins of artificial silk (a term to which Cross himself objected) were displayed in Paris that textile manufacturers began to take an interest in it. It was then that Courtaulds decided to investigate this new fibre, although it was not until 1904 that they bought the English patents and developed the first artificial silk that was later called "rayon". Cross was also concerned with the development of viscose films and of cellulose acetate, which became a rival to rayon in the form of "Celanese". He retained his interest in the paper industry and in publishing, in 1895 again collaborating with Bevan and publishing a book on Cellulose and other technical articles. He was a cultured man and a good musician. He was elected a Fellow of the Royal Society in 1917.
    [br]
    Principal Honours and Distinctions
    FRS 1917.
    Bibliography
    1888, with E.J.Bevan, A Text-book of Papermaking. 1892, British patent no. 8,700 (cellulose).
    Further Reading
    Obituary Notices of the Royal Society, 1935, London. Obituary, 1935, Journal of the Chemical Society 1,337. Chambers Concise Dictionary of Scientists, 1989, Cambridge.
    Edwin J.Beer, 1962–3, "The birth of viscose rayon", Transactions of the Newcomen Society 35 (an account of the problems of developing viscose rayon; Beer worked under Cross in the Kew laboratories).
    C.Singer (ed.), 1978, A History of Technology, Vol. VI, Oxford: Clarendon Press.
    RLH

    Biographical history of technology > Cross, Charles Frederick

  • 20 Hathaway, Henry

    1898-1985
       Nacido en Sacramento, California, acostumbraba a acompanar a su madre, actriz, cuando los rodajes no se hacian en estudio. El mismo fue actor infantil, pero despues de un parentesis impuesto por la guerra, decidio pasar al otro lado de la camara convirtiendose en un honesto y atareado ayudante de direccion durante los anos 20. Ya por entonces comenzo su larga colaboracion con Paramount, que sobrevivio hasta el final, aunque en los anos 40 tambien trabajo extensamente con 20th Century-Fox. A comienzos de los anos 30, Henry Hathaway comienza a dirigir, y comienza a dirigir westerns, basados en novelas de Zane Grey. Son un total de ocho, interpretados, con una sola excepcion, por Randolph Scott; peliculas de una hora de duracion aproximadamente que, sin embargo, tienen algo que otros productos similares de esos anos no tienen. Acaso se trata del sello de la productora, sin duda la que procuraba lanzar al mercado las peliculas mas elegantes; acaso, la versatilidad de un realizador novel llamado a abordar empresas mas ilustres. Lo consiguio poco despues, en 1936, con The Trail of the Lonesome Pine, una de sus obras emblematicas y, sin duda, una estupenda pelicula y un magnifico western, que se mueve en una linea claramente fronteriza en relacion con las senas de identidad del genero. Claro que ya antes habia dirigido una de sus obras mas populares, Tres lanceros bengalies (The Lives of a Bengal Lan cer, 1935). Los anos 40 encuentran a Hathaway inmerso en proyectos variopintos: peliculas de aventuras mas o menos exoticas, cine negro, algun que otro melodrama con tintes patrioticos… Son, basicamente, anos Fox, que ofrecen filmes tan logrados como The House on 92nd Street (La casa de la calle 92, 1945) y El beso de la muerte (Kiss of Death, 1947), con un antologico Richard Widmark. En los anos 50, mas de lo mismo, solidas muestras de cine de genero, alguna que otra pelicula mitica como Niagara (1953) y tres westerns memorables. No resistire la tentacion de destacar, entre ellos, El jardin del Diablo, situada en los albores de la pantalla ancha del CinemaScope, donde el realizador, entre otras virtudes, da buenas muestras de como aprovechar el formato. No solo eso, claro; la pelicula es un apasionante viaje vital en el que parecen haberse intercambiado los extremos, porque se parte de algo parecido a la muerte y se camina hacia la vida, simbolizada por una sugerente puesta de sol sobre la que se aproximan dos siluetas. Los anos 60 y los comienzos de los 70 nos muestran al fin a un director veterano, lleno de recursos narrativos que, casi sin darse cuenta, abusa a veces un poco de ellos, lo que no le impide ser, sin la menor duda, uno de los grandes nombres del western. A el se debe lo mas logrado de esa megaproduccion que pretendio ser La conquista del Oeste, particularmente el ultimo de sus fragmentos, The Outlaws. Cada western de Hen ry Hathaway es digno de una reflexion detallada. Al final de ella se llega a conclusiones como la de que, efectivamente, estamos ante un punado de peliculas mas importantes de lo que su superficie permite sospechar, importancia que es capaz de vencer el obstaculo, en otras ocasiones insuperable, de la falta de unidad. En efecto, el mundo de Hathaway es multifacetico, acaso conceptualmente poco fundamentado, pero, como no hay mal que por bien no venga, ello evita el peligro de un monolitismo esteril, que ha conducido a tantos creadores a elaborar universos de tedio, eso si, muy personales.
        Heritage of the Desert (El legado de la estepa). 1932. 60 minutos. Blanco y Negro. Paramount. Randolph Scott, Sally Blaine.
        Wild Horse Mesa. 1932. 65 minutos. Blanco y Negro. Paramount. Randolph Scott, Sally Blaine.
        The Thundering Herd (La horda maldita). 1933. 62 minutos. Blanco y Negro. Paramount. Randolph Scott, Judith Allen, Harry Carey.
        Under the Tonto Rim (Estaba escrito). 1933. 63 minutos. Blanco y Negro. Paramount. Stuart Edwin, Fred Kohler, Verna Hillie.
        Sunset Pass (El paso del ocaso). 1933. 61 minutos. Blanco y Negro. Paramount. Randolph Scott, Kathleen Burke, Tom Keene.
        Man of the Forest (El hombre del bosque). 1933. 62 minutos. Blanco y Negro. Paramount. Randolph Scott, Verna Hillie, Harry Carey.
        To the Last Man. 1933. 70 minutos. Blanco y Negro. Paramount. Randolph Scott, Esther Ralston.
        The Last Round-Up (El ultimo rodeo). 1934. 61 minutos. Blanco y Negro. Paramount. Randolph Scott, Barbara Fritchie, Fred Kohler.
        The Trail of the Lonesome Pine. 1936. 102 minutos. Technicolor. Paramount. Sylvia Sidney, Fred MacMurray, Henry Fonda, Beulah Bondi.
        Brigham Young – Frontiersman. 1940. 114 minutos. Blanco y Negro. Fox. Tyrone Power, Linda Darnell, Dean Jagger, Brian Donlevy.
        The Shepherd of the Hills. 1941. 98 minutos. Technicolor. Paramount. John Wayne, Betty Field, Harry Carey, Beulah Bondi.
        Rawhide (El correo del infierno). 1951. 89 minutos. Blanco y Negro. Fox. Tyrone Power, Susan Hayward, Hugh Marlowe, Dean Jagger.
        Garden of Evil (El jardin del diablo). 1954. 100 minutos. Technicolor. CinemaScope. Fox. Gary Cooper, Susan Hayward, Richard Widmark, Hugh Marlowe, Cameron Mitchell, Rita Moreno.
        From Hell to Texas (Del infierno a Texas). 1958. 100 minutos. Color DeLuxe. CinemaScope. Fox. Don Murray, Diane Varsi, Chill Wills, Dennis Hopper.
        North to Alaska (Alaska, tierra de oro). 1960. 122 minutos. Color DeLuxe. CinemaScope. Fox. John Wayne, Stewart Granger, Capucine, Ernie Kovacs, Fabian.
        How the West Was Won (La conquista del Oeste) (co-d.: John Ford, George Marshall). Episodios: The Rivers (El rio),The Plains (Las llanuras)
        The Outlaws (Los bandidos). 1962. 165 minutos (duracion total). Metrocolor. Super Cinerama. MGM. Caroll Baker, James Stewart, Lee J. Cobb, Debbie Reynolds.
        The Sons of Katie Elder (Los cuatro hijos de Katie Elder). 1965. 122 minutos. Technicolor. Panavision. Paramount. John Wayne, Dean Martin, Martha Hyer, Earl Holliman.
        Nevada Smith (Nevada Smith). 1966. 128 minutos. Eastmancolor. Pana vision. Avco/Solar Productions. Steve McQueen, Karl Malden, Brian Keith, Arthur Kennedy, Suzanne Pleshette.
        5 Card Stud (El poker de la muerte). 1968. 103 minutos. Technicolor. Hall Wallis Productions (Paramount). Dean Martin, Robert Mitchum, Inger Stevens, Roddy McDowell.
        True Grit (Valor de ley). 1969. 128 minutos. Technicolor. Paramount. John Wayne, Glen Campbell, Kim Darby.
        Shoot Out (Circulo de fuego). 1971. 95 minutos. Technicolor. Universal. Gregory Peck, Susan Tyrell, Robert F. Lyons, Rita Gam.

    English-Spanish dictionary of western films > Hathaway, Henry

Страницы
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См. также в других словарях:

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  • on carey street — (UK) If someone is on Carey Street, they are heavily in debt or have gone bankrupt …   The small dictionary of idiomes

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  • On Carey Street —   (UK)   If someone is on Carey Street, they are heavily in debt or have gone bankrupt …   Dictionary of English idioms

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