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1 действительность по существу
Русско-английский словарь по экономии > действительность по существу
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2 действительность по существу
Русско-английский юридический словарь > действительность по существу
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3 действительность по существу
Русско-английский юридический словарь > действительность по существу
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4 действительность по существу
Бизнес, юриспруденция. Русско-английский словарь > действительность по существу
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5 действительность
1. deed2. efficacy3. validity4. actualities5. actuality6. real life7. reality; validity8. factв действительности; фактически — in point of fact
Синонимический ряд:реальность (сущ.) реальность; реальный мир; явьАнтонимический ряд:фантастика; фантастикуРусско-английский большой базовый словарь > действительность
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6 действительность
1) General subject: a matter of fact, actuality, effect, efficacy, fact, operability, real life, reality, realness (чего-л.), rights, the real, validity, validity (например, знака), verity, vigor, currency (существительное от current - действительный, действующий), actualness2) Philosophy: actual, actuals ( the actual), real3) Engineering: authenticity4) Religion: true5) Law: (договора) effectiveness, effectualness, force, vigour6) Australian slang: brass-tacks7) Diplomatic term: (материальная) essential validity (определяется правоспособностью сторон, реальностью их согласия, правомерностью цели и отсутствием пороков воли; по существу), (материальная) substantive validity (определяется правоспособностью сторон, реальностью их согласия, правомерностью цели и отсутствием пороков воли; по существу)8) Psychology: energia (в противоположность потенциальности), substance9) Patents: availability10) Business: deed11) EBRD: effectiveness (соглашения)12) leg.N.P. validity (e.g., of а contract, a treaty, a statute, a will)13) Psychoanalysis: factuality -
7 действительность по существу
1) General subject: material validityУниверсальный русско-английский словарь > действительность по существу
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8 дійсність
ж1) ( реальність) reality, actualityу дійсності — in reality, in fact
2) ( об'єктивний світ) life; realities pl3) ( документа) validityдійсність договору — the force of an agreement, force of agreement
дійсність по суті — essential validity, intrinsic validity, substantial validity
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9 (материальная) действительность
Diplomatic term: essential validity (определяется правоспособностью сторон, реальностью их согласия, правомерностью цели и отсутствием пороков воли ; по существу), substantive validity (определяется правоспособностью сторон, реальностью их согласия, правомерностью цели и отсутствием пороков воли ; по существу)Универсальный русско-английский словарь > (материальная) действительность
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10 по существу
1. as suchкак таковой; сам по себе; по существу — as such
2. basically3. in substanceпо существу; по сути — in substance
4. inherently5. per se6. substantially7. essentially8. substance9. to the pointпо существу; кстати — to the point
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11 по существу
Русско-английский новый политехнический словарь > по существу
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12 действительность по существу
essential (intrinsic, substantial) validityЮридический русско-английский словарь > действительность по существу
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13 вопрос
(= проблема) question, problem, matter, issue, item, point• Анализ проводится для ответа на следующие вопросы. - The analysis seeks to answer the following questions.• Более тонким вопросом является... - It is a more delicate matter to...• В главе 2 мы вернемся к этому вопросу и попытаемся показать, что... - In Chapter 2 we shall return to this question and try to show that...• В подобной ситуации мы могли бы задать два вопроса:... - In such a situation, we might ask two questions:...• В свете этого законен вопрос... - In light of this, one can legitimately ask...• В статье [1] Смит поднял вопрос, имеющий существенный интерес. - A point of considerable interest was raised by Smith [1].• В частности, должны быть рассмотрены три вопроса. - Three questions in particular have to be considered.• Возможно, наиболее насущным вопросом является... - The most urgent question, perhaps, is...• Возникает вопрос, действительно ли... - The question arises whether...• Возникает вопрос, действительно ли возможно (установить, увидеть и т. п.)... - The question arises as to whether it is possible to...• Возникает вопрос, действительно ли обратное (утверждение и т. п.) выполняется необходимо. - A question arises as to whether the converse necessarily holds.• Вопрос... все еще остается, в основном, без ответа, хотя... - The question of... is still largely unanswered, although...• Это вопрос договоренности, что... - It is a matter of convention that...• Далее в приложении мы исследуем данный вопрос. - We explore this topic further in the appendix.• Данный вопрос возник, поскольку... - This issue is raised here because...• До тех пор, пока не..., этот вопрос не получал ответа. - The question remained unanswered until...• Интересные, но трудные вопросы возникают, когда... - Interesting but difficult questions arise when...• Здесь мы заканчиваем обсуждение этих вопросов. - At this point we bring our discussion of these matters to a close.• Итак, напрашивается следующий вопрос. - Hence the following question suggests itself:• Многие авторы поставили под вопрос справедливость этого утверждения... - Many authors have questioned the validity of this statement.• Можно задаться вопросом, действительно ли... - It may be asked whether...• Мы (еще) увидим, что данные вопросы тесно взаимосвязаны. - We shall see that these questions are closely related.• Мы вынуждены задаться вопросом, действительно ли... - We are led to inquire whether...• Мы избежали вопроса, действительно ли... - We have evaded the question as to whether...• Мы начинаем с вопроса о... - Let us begin by asking about...• Мы не будем входить в рассмотрение этого сложного вопроса. - We shall not enter into this complicated question.• Мы не будем затрагивать вопрос о... - We shall not touch on the question of...• Мы не будем обсуждать вопрос, действительно ли... - We shall not discuss the question of whether...• Мы обсуждаем вопрос о том, действительно ли... - We are discussing the question of whether...• Мы обсуждаем вопрос о том, что такое... - We are discussing the question of what is...• Мы обязаны ответить на вопрос, действительно ли... - We must answer the question whether...• Мы рассмотрим эти вопросы позднее. - We shall deal with these matters later.• На этот вопрос нельзя дать определенный ответ. - The answer to this question is not known with certainty.• Нам предстоит решить вопрос... - We have to solve the problem...• He рассматривались вопросы... - No consideration has been given to questions of...• Не самый маловажный из этих вопросов это... - Not least among these questions is...• Некоторые из этих вопросов получат развитие в следующей главе. - Some of these points will be developed further in the next chapter.• Обратимся теперь к вопросу выбора... - We now turn to the matter of selecting...• Один ответ на данный вопрос находится в концепции... - One answer to this question lies in the concept of...• Один существенный вопрос, который необходимо отметить, состоит в том, что... - One vital point to be noticed is that...• Однако это всего лишь вопрос удобства, а никак не... - But this is merely a matter of convenience, and is not...• Важным является вопрос, действительно ли... - One important question is whether...• Основной вопрос состоит в том, как мы должны приступить к задаче... - The main question is how we should approach the problem of...• Основным вопросом данной главы является... - Our main business in this chapter is to...• Оставляя на некоторое время в стороне вопрос, действительно ли... - Putting aside for a moment the question whether...• Остается еще вопрос, действительно ли... - It remains to be seen whether...• Остается ответить еще на многие другие вопросы. - Many other questions remain to be answered.• Остается рассмотреть вопрос о... - It remains to take up the question of...• Ответ на этот вопрос дается... - The answer to this question is provided by...• Первый из этих вопросов влечет за собой... - The first of these questions involves...• Перед нами встал вопрос,... - We were confronted with a question:...• Позднее мы вернемся к вопросу о... - Later we shall turn to the question of...• Предварительный обзор данного вопроса был бы неполным без... - A preview of this subject would be incomplete without...• Прежде чем..., необходимо уделить серьезное внимание этим и другим вопросам. - These and other questions need to be given serious attention before...• Принципиальным вопросом является, действительно ли... - A major issue is whether...• Применимость этой процедуры все еще находится под вопросом. - The viability of this procedure is still in question; This procedure is still open to question.• Разумно задать вопрос... - A reasonable question is:...• Рассмотрим сначала вопрос о... - Let us first consider the question of...• Рассмотрим этот вопрос далее. - We consider this question a little further.• Следующим вопросом является, действительно ли... - The next question is whether...• Существенным вопросом теперь является, действительно ли... - The essential question now is whether...• Существенным вопросом, на который следует ответить, является: действительно ли... - A major question to be answered is whether...• Теперь возвратимся к вопросу, поставленному в самом начале этой главы. - We now return to the question posed at the beginning of the chapter.• Теперь возникает вопрос, а действительно ли... - The question now arises as to whether...• Теперь возникает вопрос, как могут птицы ориентироваться после захода солнца. - The question now arises as to how birds can navigate after sunset.• Теперь можно было бы задать вопрос, действительно ли... - The question may now be raised whether...• Теперь мы должны рассмотреть вопрос, действительно ли... - We must now take up the question of whether...• Теперь мы задаемся вопросом, действительно ли... - We now ask whether...• Теперь мы подходим к одному важному вопросу. - Now we come to an important question.• Теперь мы способны ответить на несколько вопросов, которые... - This puts us in a position to answer several questions which...• Чтобы ответить на этот вопрос, давайте... - То answer this question, let us...• Чтобы ответить на этот вопрос, мы... - То answer this we shall...• Чтобы ответить на этот вопрос, мы должны принять во внимание, что... - То answer this question, we must take into account that...• Чтобы ответить на этот вопрос, нам надо более детально рассмотреть... - То answer this question we need to look more closely at...• Это новые вопросы, так как... - These questions are new because...• Это важный вопрос. - This is an important matter.• Это действительно глубокий вопрос. - This is indeed a deep question.• Это не вполне решает вопрос. - This does not quite settle the matter.• Это простой вопрос. - It is a simple matter.• Этот вопрос является фундаментальным. - This question is fundamental. -
14 active listening
HRa technique for improving understanding of what is being said by taking into account how something is said and the nonverbal signs and body language that accompany it. This technique requires receptive awareness and response on the part of the listener. Six principles form the core of active listening: encourage people to express opinions; clarify perceptions of what is said; restate essential points and ideas; reflect the speaker’s feeling and opinions; summarize the content of the message to check validity; acknowledge the opinion and contribution of the speaker. It is used particularly in counseling. -
15 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
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