-
1 the
1. definite article1) der/die/dasif you want a quick survey, this is the book — für einen raschen Überblick ist dies das richtige Buch
he lives in the district — er wohnt in dieser Gegend
£5 the square metre/the gallon/the kilogram — 5 Pfund der Quadratmeter/die Gallone/das Kilogramm
14 miles to the gallon — 14 Meilen auf eine Gallone; ≈ 20 l auf 100 km
a scale of one mile to the inch — ein Maßstab von 1: 63 360
2) (denoting one best known)it is the restaurant in this town — das ist das Restaurant in dieser Stadt
2. adverbhave got the toothache/measles — (coll.) Zahnschmerzen/die Masern haben
the more I practise the better I play — je mehr ich übe, desto od. um so besser spiele ich
so much the worse for somebody/something — um so schlimmer für jemanden/etwas
* * *[ðə, ði](The form [ðə] is used before words beginning with a consonant eg the house or consonant sound eg the union [ðə'ju:njən]; the form [ði] is used before words beginning with a vowel eg the apple or vowel sound eg the honour [ði 'onə]) der/die/das1) (used to refer to a person, thing etc mentioned previously, described in a following phrase, or already known: Where is the book I put on the table?; Who was the man you were talking to?; My mug is the tall blue one; Switch the light off!)2) (used with a singular noun or an adjective to refer to all members of a group etc or to a general type of object, group of objects etc: The horse is running fast.; I spoke to him on the telephone; He plays the piano/violin very well.) der/die/das3) (used to refer to unique objects etc, especially in titles and names: the Duke of Edinburgh; the Atlantic (Ocean).) der/die/das4) (used after a preposition with words referring to a unit of quantity, time etc: In this job we are paid by the hour.) eine/-r/s(oder unübersetzt)5) (used with superlative adjectives and adverbs to denote a person, thing etc which is or shows more of something than any other: He is the kindest man I know; We like him (the) best of all.) der/die/das,am6) ((often with all) used with comparative adjectives to show that a person, thing etc is better, worse etc: He has had a week's holiday and looks (all) the better for it.) um so•- academic.ru/118911/the_..">the...- the...* * *[ði:, ði, ðə]1. (denoting thing mentioned) der/die/dasat \the cinema im Kinoat \the corner an der Eckein \the fridge im Kühlschrankon \the shelf im Regalon \the table auf dem Tisch2. (particular thing/person)▪ \the ... der/die/das...3. (with family name)\the Smiths are away on vacation die Schmidts sind im Urlaub4. (before relative clause) der/die/dasI really enjoyed \the book I've just finished reading das Buch, das ich gerade gelesen habe, war wirklich interessant5. (before name with adjective) der/die\the unfortunate Mr Jones was caught up in the crime der bedauernswerte Mr. Jones wurde in das Verbrechen verwickelt6. (in title) der/dieEdward \the Seventh Eduard der SiebteElizabeth \the second Elisabeth die Zweite7. (before adjective) der/die/dasI suppose we'll just have to wait for \the inevitable ich vermute, wir müssen einfach auf das Unvermeidliche warten\the panda is becoming an increasingly rare animal der Pandabär wird immer seltener\the democrats/poor/townspeople die Demokraten/Armen/Städtera home for \the elderly ein Altersheim nt9. (with superlative) der/die/das\the highest mountain in Europe der höchste Berg Europas\the happiest der/die Glücklichste10. (instead of possessive)how's \the leg today, Mrs. Steel? wie geht es Ihrem Bein denn heute, Frau Steel?he held his daughter tightly by \the arm er hielt seine Tochter am Arm fest11. (with dates) der\the 24th of May der 24. MaiMay \the 24th der 24. Mai; (with time period) diein \the eighties in den Achtzigern [o Achtzigerjahren12. (with ordinal numbers) der/die/dasyou're \the fifth person to ask me that du bist die Fünfte, die mich das fragt13. (with measurements) prothese potatoes are sold by \the kilo diese Kartoffeln werden kiloweise verkauftby \the hour pro Stundetwenty miles to \the gallon zwanzig Meilen auf eine Gallone14. (enough) der/die/dasI haven't got \the energy to go out this evening ich habe heute Abend nicht mehr die Energie auszugehenII. adv + compall \the better/worse umso besser/schlechterI feel all \the better for getting that off my chest nachdem ich das losgeworden bin, fühle ich mich gleich viel besserany the better/worse in irgendeiner Weise besser/schlechtershe doesn't seem to be any \the worse for her bad experience ihre schlimme Erfahrung scheint ihr in keiner Weise geschadet zu haben▪ \the..., \the... je..., desto...\the lower \the price, \the poorer \the quality je niedriger der Preis, umso schlechter die Qualitätbring the family with you! \the more \the merrier! bring die Familie mit! je mehr Leute, desto besser▪ \the more..., \the more... je mehr..., desto mehr...\the more I see of his work, \the more I like it je mehr ich von seiner Arbeit sehe, desto besser gefällt sie mir* * *[ðə] (vor Vokalen auch, zur Betonung auch) [ðiː]1. def art1) der/die/dasin the room — im or in dem Zimmer
on the edge —
to play the piano/guitar — Klavier/Gitarre spielen
have you invited the Browns? — haben Sie die Browns or (with children) die Familie Brown eingeladen?
in the 20s — in den zwanziger Jahren or Zwanzigerjahren pl
how's the leg/wife? (inf) — wie gehts dem Bein/Ihrer Frau? (inf)
the poor/rich — die Armen pl/Reichen pl
translated from the German —
she was the prettier/prettiest — sie war die Hübschere/Hübscheste
4)(distributive use)
80p the pound — 80 Pence das or pro Pfundby the hour — pro Stunde
the car does thirty miles to the gallon — das Auto braucht eine Gallone auf dreißig Meilen, das Auto verbraucht 11 Liter auf 100km
5) [ðiː](stressed) der/die/das2. adv(all) the more so because... — umso mehr, als...
See:→ better* * *the book on the table das Buch auf dem Tisch;the England of today das England von heute;the Browns die Browns, die Familie Brown2. vor Maßangaben:one dollar the pound einen Dollar das Pfund;wine at two pounds the bottle Wein zu zwei Pfund die Flasche3. [ðiː] der, die, das (hervorragende oder geeignete etc):he is the painter of the century er ist der Maler des Jahrhundertsthe2 [ðə] adv (vor komp) desto, umso;the … the je …, desto;so much the better umso besser;so much the more umso (viel) mehr;not any the better um nichts besser;Gambia, the [ˈɡæmbıə] s Gamiba nMidlands, the [ˈmıdləndz] spl Mittelengland n (Grafschaften Mittelenglands, besonders Warwickshire, Northamptonshire, Leicestershire, Nottinghamshire, Derbyshire und Staffordshire)* * *1. definite article1) der/die/dasif you want a quick survey, this is the book — für einen raschen Überblick ist dies das richtige Buch
it's or there's only the one — es ist nur dieser/diese/dieses eine
£5 the square metre/the gallon/the kilogram — 5 Pfund der Quadratmeter/die Gallone/das Kilogramm
14 miles to the gallon — 14 Meilen auf eine Gallone; ≈ 20 l auf 100 km
a scale of one mile to the inch — ein Maßstab von 1: 63 360
2. adverbhave got the toothache/measles — (coll.) Zahnschmerzen/die Masern haben
the more I practise the better I play — je mehr ich übe, desto od. um so besser spiele ich
so much the worse for somebody/something — um so schlimmer für jemanden/etwas
* * *art.das art.n.der art.m.die art.f. v.zum v. -
2 painter paint·er
I ['peɪntə(r)] nArt pittore (-trice), (decorator) imbianchino (-a)II ['peɪntə(r)] nthe painter is coming tomorrow to redecorate the house — domani viene l'imbianchino per ridipingere la casa
Naut fune f d'ormeggio -
3 painter of the 19th-century Russian realist school
Общая лексика: передвижникУниверсальный англо-русский словарь > painter of the 19th-century Russian realist school
-
4 the icon is assignable to a 12th century Byzantine icon painter
Универсальный англо-русский словарь > the icon is assignable to a 12th century Byzantine icon painter
-
5 Jeanneret, Charles-Edouard (Le Corbusier)
SUBJECT AREA: Architecture and building[br]b. 6 October 1887 La Chaux-de-Fonds, Switzerlandd. 27 August 1965 Cap Martin, France[br]Swiss/French architect.[br]The name of Le Corbusier is synonymous with the International style of modern architecture and city planning, one utilizing functionalist designs carried out in twentieth-century materials with modern methods of construction. Charles-Edouard Jeanneret, born in the watch-making town of La Chaux-de-Fonds in the Jura mountain region, was the son of a watch engraver and dial painter. In the years before 1918 he travelled widely, studying building in many countries. He learned about the use of reinforced concrete in the studio of Auguste Perret and about industrial construction under Peter Behrens. In 1917 he went to live in Paris and spent the rest of his life in France; in 1920 he adopted the name of Le Corbusier, one derived from that of his ancestors (Le Corbesier), and ten years later became a French citizen.Le Corbusier's long working life spanned a career divided into three distinct parts. Between 1905 and 1916 he designed a number of simple and increasingly modern houses; the years 1921 to 1940 were ones of research and debate; and the twenty years from 1945 saw the blossoming of his genius. After 1917 Le Corbusier gained a reputation in Paris as an architect of advanced originality. He was particularly interested in low-cost housing and in improving accommodation for the poor. In 1923 he published Vers une architecture, in which he planned estates of mass-produced houses where all extraneous and unnecessary features were stripped away and the houses had flat roofs and plain walls: his concept of "a machine for living in". These white boxes were lifted up on stilts, his pilotis, and double-height living space was provided internally, enclosed by large areas of factory glazing. In 1922 Le Corbusier exhibited a city plan, La Ville contemporaine, in which tall blocks made from steel and concrete were set amongst large areas of parkland, replacing the older concept of city slums with the light and air of modern living. In 1925 he published Urbanisme, further developing his socialist ideals. These constituted a major reform of the industrial-city pattern, but the ideas were not taken up at that time. The Depression years of the 1930s severely curtailed architectural activity in France. Le Corbusier designed houses for the wealthy there, but most of his work prior to 1945 was overseas: his Centrosoyus Administration Building in Moscow (1929–36) and the Ministry of Education Building in Rio de Janeiro (1943) are examples. Immediately after the end of the Second World War Le Corbusier won international fame for his Unité d'habitation theme, the first example of which was built in the boulevard Michelet in Marseille in 1947–52. His answer to the problem of accommodating large numbers of people in a small space at low cost was to construct an immense all-purpose block of pre-cast concrete slabs carried on a row of massive central supports. The Marseille Unité contains 350 apartments in eight double storeys, with a storey for shops half-way up and communal facilities on the roof. In 1950 he published Le Modular, which described a system of measurement based upon the human male figure. From this was derived a relationship of human and mathematical proportions; this concept, together with the extensive use of various forms of concrete, was fundamental to Le Corbusier's later work. In the world-famous and highly personal Pilgrimage Church of Notre Dame du Haut at Ronchamp (1950–5), Le Corbusier's work was in Expressionist form, a plastic design in massive rough-cast concrete, its interior brilliantly designed and lit. His other equally famous, though less popular, ecclesiastical commission showed a contrasting theme, of "brutalist" concrete construction with uncompromisingly stark, rectangular forms. This is the Dominican Convent of Sainte Marie de la Tourette at Eveux-sur-l'Arbresle near Lyon, begun in 1956. The interior, in particular, is carefully worked out, and the lighting, from both natural and artificial sources, is indirect, angled in many directions to illuminate vistas and planes. All surfaces are carefully sloped, the angles meticulously calculated to give optimum visual effect. The crypt, below the raised choir, is painted in bright colours and lit from ceiling oculi.One of Le Corbusier's late works, the Convent is a tour de force.[br]Principal Honours and DistinctionsHonorary Doctorate Zurich University 1933. Honorary Member RIBA 1937. Chevalier de la Légion d'honneur 1937. American Institute of Architects Gold Medal 1961. Honorary Degree University of Geneva 1964.BibliographyHis chief publications, all of which have been numerously reprinted and translated, are: 1923, Vers une architecture.1935, La Ville radieuse.1946, Propos d'urbanisme.1950, Le Modular.Further ReadingP.Blake, 1963, Le Corbusier: Architecture and Form, Penguin. R.Furneaux-Jordan, 1972, Le Corbusier, Dent.W.Boesiger, 1970, Le Corbusier, 8 vols, Thames and Hudson.——1987, Le Corbusier: Architect of the Century, Arts Council of Great Britain.DYBiographical history of technology > Jeanneret, Charles-Edouard (Le Corbusier)
-
6 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
7 Music
Portugal's musical tradition began in the 15th century when songs ( cantigas) written by court troubadours were set to music. Early in the 16th century the cathedral in Coimbra became a center for the composition of polyphonic music and produced several composers of note. Portugal's musical tradition was carried throughout the Portuguese overseas empire. The playwright Gil Vicente used incidental music in his religious plays, some of which could be described as protomusicals. Until the 17th century, musical training was controlled by the Catholic Church, and the clergy dominated the field of composition. During this 18th century, Portuguese mon-archs lavished money and attention on music teachers and composers, which gave Portugal the best and liveliest court music anywhere in Europe. During the period, the Italian Domenico Scarlatti was court choirmaster, which infused Portuguese church music and opera with the Neapolitan style. A Portuguese, João de Sousa Carvalho, was one of the most popular composers of opera and musical drama in Europe during the second half of the 18th century.Perhaps the best-known Portuguese composer is João Domingos Bomtempo. Bomtempo wrote music in the classical style and, as head of the National Academy of Music, assured that the classical style remained integral to Portuguese music until well into the Romantic era. Gradually, Romantic music from Europe was accepted, having been introduced by Alfredo Keil, a Portuguese painter, musician, and opera composer of German descent. Portugal's only Romantic composer of note, Keil wrote the music for A Portuguesa, the official Portuguese national anthem since 1911.The most widely known musical form of Portugal is the fado. Meaning fate, fado is singing that expresses a melancholic longing intermingled with sadness, regret, and resignation. There are at least two variations of fado: the Lisbon fado and the Coimbra or university student fado. Its origins are hotly debated. The most famous Portuguese fado singer was Amália Rodrigues (1920-99); presently, Mariza holds that claim. -
8 old
əuld1) (advanced in age: an old man; He is too old to live alone.) viejo, mayor2) (having a certain age: He is thirty years old.) de edad3) (having existed for a long time: an old building; Those trees are very old.) viejo, antiguo4) (no longer useful: She threw away the old shoes.) viejo5) (belonging to times long ago: old civilizations like that of Greece.) antiguo•- old age- old boy/girl
- old-fashioned
- old hand
- old maid
- the old
old adj1. viejo2. mayor3. antiguohow old...? ¿cuántos años...?how old are you? ¿cuántos años tienes?to be... years old tener... añostr[əʊld]1 (person) viejo,-a, mayor■ an old man un anciano, un hombre mayor, un viejo■ she's a year older than you te lleva un año, es un año mayor que tú, tiene un año más que tú3 (long-established, familiar) viejo,-a4 (former) antiguo,-a5 (experienced, veteran) viejo,-a, veterano,-a1 las personas nombre femenino plural mayores, los ancianos nombre masculino plural\SMALLIDIOMATIC EXPRESSION/SMALLany old how de cualquier maneraany old thing cualquier cosaas old as the hills más viejo,-a que Matusalénhow old are you? ¿cuántos años tienes?, ¿qué edad tienes?of old de antañoto be... years old tener... añosto be old hat no ser ninguna novedadold age vejez nombre femeninoold boy (ex-pupil) ex alumno, antiguo alumno 2 (old man) abuelo, viejecito 3 (form of address) viejoold folk ancianos nombre masculino pluralold hand veterano,-aold maid solteronaold people's home residencia de ancianosOld Testament Antiguo Testamentoold wives' tale cuento de viejasthe Old World el viejo mundoold ['o:ld] adj1) ancient: antiguoold civilizations: civilizaciones antiguas2) familiar: viejoold friends: viejos amigosthe same old story: el mismo cuentohe's ten years old: tiene diez años (de edad)4) aged: viejo, ancianoan old woman: una anciana5) former: antiguoher old neighborhood: su antiguo barrio6) worn-out: viejo, gastadoold n1)the old : los viejos, los ancianos2)in the days of old : antaño, en los tiempos antiguosadj.• anciano, -a adj.• antiguo, -a adj.• añejo, -a adj.• añoso, -a adj.• rancio, -a adj.• viejo, -a adj.
I əʊld1) ( of certain age)how old are you? — ¿cuántos años tienes?, ¿qué edad tienes?
she's two years older than me — me lleva dos años, es dos años mayor que yo
a group of six-year-/fifteen-year-olds — un grupo de niños de seis años/de quinceañeros
you're old enough to know better! — a tu edad...!
2) ( not young) mayor; ( less polite) viejoold people feel the cold more — los ancianos or las personas mayores or de edad sienten más el frío
to get o grow old/older — envejecer*
doesn't she look old! — qué vieja or avejentada está!
3)a) ( not new) <clothes/car/remedy> viejo; <city/civilization> antiguo; < customadition> viejo, antiguob) (longstanding, familiar) (before n) <friend/enemy/rivalry> viejo; <injury/problem> antiguo4) (former, previous) (before n) antiguo6) (colloq) (before n)b) ( in familiar references)
II
1) ( old people) (+ pl vb)the old — los ancianos, las personas mayores or de edad; ( less polite) los viejos
2) ( former times) (liter)[ǝʊld]in days of old — antaño (liter), antiguamente
1. ADJ(compar older) (superl oldest)1) (=not young) [person] viejo; (more respectful) mayor, anciano; [animal] viejo; [civilization] antiguoan old man — un viejo, un anciano
an old woman — una vieja, una anciana
an old lady — una señora mayor or anciana
a little old lady — una viejecita, una ancianita
old people, old folks * — los viejos; (more respectful) los ancianos, las personas mayores
•
to be old before one's time — hacerse mayor antes de tiempo•
to be old beyond one's years — ser maduro para la edad que se tienethat dress is too old for you — ese vestido es para alguien mayor que tú, ese vestido no es apropiado para tu edad
he's afraid of getting or growing old — tiene miedo a envejecer
as we get older... — según envejecemos...
dirty 1., 4), fogey, fool, teach 1., 2)•
to look old — parecer viejo, estar avejentadohow old are you? — ¿cuántos años tienes?, ¿qué edad tienes?
Laura is six weeks/months/years old — Laura tiene seis semanas/meses/años
•
to be old enough for sth/to do sth — tener edad para algo/para hacer algohe's old enough to know better — (to have more sense) a su edad debería tener más sentido común, ya es mayorcito para saber lo que está bien y lo que está mal; (to behave better) a su edad debería portarse mejor
generationshe's old enough to be your mother — con la edad que tiene, podría ser tu madre
3) (=not new)a) (=antique) [painting, book, building] antiguo; [wine] añejothe old part of Glasgow — la parte vieja or antigua de Glasgow
- be as old as the hillschip 1., 1)b) [clothes, furniture] (=tatty) viejo; (=worn) usado, gastado4) (=long-standing) viejothat's an old problem — eso no es nada nuevo, eso ya viene de atrás
it's a very old tradition/custom — es una vieja tradición/costumbre, es una tradición/costumbre antigua
score 1., 4)the old ways survived in some country areas — las viejas costumbres perduraron en algunas partes del campo
5) (=former) antiguo•
the old country — la madre patria, la patria•
in the old days — antaño, en los viejos tiemposof the old school — (fig) de la vieja escuela
•
for old times' sake — por los viejos tiemposgood old Mike! — ¡este Mike!
come on, old man! † — ¡venga hombre!
•
she's a funny old thing — es rarita7) * (as intensifier)what a load of old rubbish! — ¡qué cantidad de chorradas! *
•
any old, any old thing will do — cualquier cosa sirveit's not just any old painting, it's a Rembrandt — no es un cuadro cualquiera, es un Rembrandt
•
we had a high old time — hacía tiempo que no nos divertíamos tanto•
it's the same old story — es la misma historia de siempre2. N1)the old — los viejos mpl, los ancianos mpl
2) liter•
of old: to know sb of old — conocer a algn desde hace tiempoknights/legends of old — los caballeros/las leyendas de antaño liter
in days of old — antaño liter, en los tiempos antiguos
3.CPDripeold age pension N — subsidio m de la tercera edad, pensión f
old age pensioner N — pensionista mf, jubilado(-a) m / f
the Old Bailey N — (Brit) el tribunal de lo penal de más alto rango de Inglaterra
the Old Bill ** N — (Brit) la poli *, la pasma (Sp) **
old boy N — (=former pupil) ex-alumno m, antiguo alumno m; † * (=old chap) amigo m mío
the old-boy network — esp pej el amiguismo
old campaigner N — veterano m
old chestnut * N — (=joke) broma f muy pasada; (=story) historia f muy pasada
Old Dominion N — (US) el estado de Virginia
Old English N — inglés m antiguo
See:see cultural note ANGLO-SAXON in Anglo-SaxonOld English sheepdog N — perro m pastor ovejero inglés
old flame N — antiguo amor m
old folks' home N — residencia f de ancianos
old girl N — (=former pupil) ex-alumna f, antigua alumna f; (=elderly woman) * † señora f, abuelita * f
Old Glory N — (US) bandera de los Estados Unidos
old hand N — veterano(-a) m / f
old lag * N — (=old prisoner) (preso(-a) m / f) veterano(-a) m / f; (=ex-prisoner) ex-presidiario(-a) m / f
old maid N — pej solterona f
Old Man River N — (US) el río Mississippi
old master N — (=work) obra f maestra de la pintura clásica; (=painter) gran maestro m de la pintura clásica
Old Nick * N — hum Pedro Botero * hum
old people's home N — residencia f de ancianos
old salt N — (Naut) viejo lobo m de mar
old school tie N — (Brit) (lit) corbata con los colores representativos de la escuela a la que alguien ha asistido
the old school tie — (fig) el amiguismo
old soldier N — veterano m, excombatiente m
the Old South N — (US) el viejo sur
old stager N — veterano(-a) m / f
old wives' tale N — cuento m de viejas, patraña f
old-world OLDthe Old World N — el Viejo Mundo, el Viejo Continente
Position of "viejo" and "antiguo"
Viejo and antiguo can go either before or after the noun, depending on their meaning.
Viejo ► Put viejo {after} the noun when you are referring to age:
... boxes full of old clothes...... cajas llenas de ropa vieja...
Old cars are the ones that pollute the environment most Son los coches viejos los que más contaminan el medio ambiente ► Put viejo {before} the noun when you mean old in the sense of "long-standing" or "well-established":
They got in touch with an old friend Se pusieron en contacto con un viejo amigo
Many of the old customs have changed with the passing of time Muchas de las viejas costumbres han cambiado con el paso del tiempo
Antiguo ► Generally put antiguo {after} the noun to translate ancient or old in the sense of "ancient":
... one of Canada's most beautiful old houses...... una de las más bellas casas antiguas de Canadá...
... the old part of the town...... el barrio antiguo de la ciudad... ► Put antiguo {before} the noun to translate former or old in the sense of "former":
My old colleagues are no longer my friends Mis antiguos compañeros ya no son mis amigos
... the former British colonies...... las antiguas colonias británicas... For further uses and examples, see main entry* * *
I [əʊld]1) ( of certain age)how old are you? — ¿cuántos años tienes?, ¿qué edad tienes?
she's two years older than me — me lleva dos años, es dos años mayor que yo
a group of six-year-/fifteen-year-olds — un grupo de niños de seis años/de quinceañeros
you're old enough to know better! — a tu edad...!
2) ( not young) mayor; ( less polite) viejoold people feel the cold more — los ancianos or las personas mayores or de edad sienten más el frío
to get o grow old/older — envejecer*
doesn't she look old! — qué vieja or avejentada está!
3)a) ( not new) <clothes/car/remedy> viejo; <city/civilization> antiguo; <custom/tradition> viejo, antiguob) (longstanding, familiar) (before n) <friend/enemy/rivalry> viejo; <injury/problem> antiguo4) (former, previous) (before n) antiguo6) (colloq) (before n)b) ( in familiar references)
II
1) ( old people) (+ pl vb)the old — los ancianos, las personas mayores or de edad; ( less polite) los viejos
2) ( former times) (liter)in days of old — antaño (liter), antiguamente
-
9 Boulle, André-Charles
SUBJECT AREA: Domestic appliances and interiors[br]b. 11 November 1642 Paris, Franced. 29 February 1732 Paris, France[br]French cabinet-maker noted for his elaborate designs and high-quality technique in marquetry using brass and tortoiseshell.[br]As with the Renaissance artists and architects of fifteenth-and sixteenth-century Italy, Boulle worked as a young man in varied media, as a painter, engraver and metalworker an in mosaic techniques. It was in the 1660s that he turned more specifically to furniture and in the following decade, under the patronage of Louis XIV, that he became a leading ébéniste or cabinet-maker, In 1672 the King's Controller-General, Jean-Baptiste Colbert, recommended Boulle as an outstanding cabinet-maker and he was appointed ébéniste du roi. From then he spent the rest of his life working in the royal palaces, notably the Louvre and Versailles, and also carried out commissions for the French aristocracy and from abroad, particularly Spain and Germany.Before the advent of Boulle, the quality furniture made for the French court and aristocracy had come from foreign craftsmen, particularly Domenico Cucci of Italy and Pierre Colle of the Low Countries. Boulle made his name as their equal in his development of new forms of furniture such as his bureaux and commodes, the immense variety of his designs and their architectural quality, the beauty of his sculptural, gilded mounts, and the development of his elaborate marquetry. He was a leading exponent of the contemporary styles, which meant the elaborately rich baroque forms in the time of Louis XIV and the more delicate rococo elegance in that of Louis XV. The technique to which Boulle gave his name (sometimes referred to in its German spelling of Bühl) incorporated a rich variety of veneering materials into his designs: in particular, he used tortoiseshell and brass with ebony. Even greater richness was created with the introduction of an engraved design upon the brass surfaces. Further delicate elaboration derived from the use of paired panels of decoration to be used in reverse form in one piece, or two matching pieces, of furniture. In one panel, designated as première partie, the marquetry took the form of brass upon tortoiseshell, while in the other (contre-partie) the tortoiseshell was set into the brass background.[br]Further ReadingJ.Fleming and H.Honour, 1977, The Penguin Dictionary of Decorative Arts: Allen Lane, pp. 107–9.1982, The History of Furniture: Orbis (contains many references to Boulle).DY -
10 Leonardo da Vinci
[br]b. 15 April 1452 Vinci, near Florence, Italy,d. 2 May 1519 St Cloux, near Amboise, France.[br]Italian scientist, engineer, inventor and artist.[br]Leonardo was the illegitimate son of a Florentine lawyer. His first sixteen years were spent with the lawyer's family in the rural surroundings of Vinci, which aroused in him a lifelong love of nature and an insatiable curiosity in it. He received little formal education but extended his knowledge through private reading. That gave him only a smattering of Latin, a deficiency that was to be a hindrance throughout his active life. At sixteen he was apprenticed in the studio of Andrea del Verrochio in Florence, where he received a training not only in art but in a wide variety of crafts and technical arts.In 1482 Leonardo went to Milan, where he sought and obtained employment with Ludovico Sforza, later Duke of Milan, partly to sculpt a massive equestrian statue of Ludovico but the work never progressed beyond the full-scale model stage. He did, however, complete the painting which became known as the Virgin of the Rocks and in 1497 his greatest artistic achievement, The Last Supper, commissioned jointly by Ludovico and the friars of Santa Maria della Grazie and painted on the wall of the monastery's refectory. Leonardo was responsible for the court pageants and also devised a system of irrigation to supply water to the plains of Lombardy. In 1499 the French army entered Milan and deposed Leonardo's employer. Leonardo departed and, after a brief visit to Mantua, returned to Florence, where for a time he was employed as architect and engineer to Cesare Borgia, Duke of Romagna. Around 1504 he completed another celebrated work, the Mona Lisa.In 1506 Leonardo began his second sojourn in Milan, this time in the service of King Louis XII of France, who appointed him "painter and engineer". In 1513 Leonardo left for Rome in the company of his pupil Francesco Melzi, but his time there was unproductive and he found himself out of touch with the younger artists active there, Michelangelo above all. In 1516 he accepted with relief an invitation from King François I of France to reside at the small château of St Cloux in the royal domain of Amboise. With the pension granted by François, Leonardo lived out his remaining years in tranquility at St Cloux.Leonardo's career can hardly be regarded as a success or worthy of such a towering genius. For centuries he was known only for the handful of artistic works that he managed to complete and have survived more or less intact. His main activity remained hidden until the nineteenth and twentieth centuries, during which the contents of his notebooks were gradually revealed. It became evident that Leonardo was one of the greatest scientific investigators and inventors in the history of civilization. Throughout his working life he extended a searching curiosity over an extraordinarily wide range of subjects. The notes show careful investigation of questions of mechanical and civil engineering, such as power transmission by means of pulleys and also a form of chain belting. The notebooks record many devices, such as machines for grinding and polishing lenses, a lathe operated by treadle-crank, a rolling mill with conical rollers and a spinning machine with pinion and yard divider. Leonardo made an exhaustive study of the flight of birds, with a view to designing a flying machine, which obsessed him for many years.Leonardo recorded his observations and conclusions, together with many ingenious inventions, on thousands of pages of manuscript notes, sketches and drawings. There are occasional indications that he had in mind the publication of portions of the notes in a coherent form, but he never diverted his energy into putting them in order; instead, he went on making notes. As a result, Leonardo's impact on the development of science and technology was virtually nil. Even if his notebooks had been copied and circulated, there were daunting impediments to their understanding. Leonardo was left-handed and wrote in mirror-writing: that is, in reverse from right to left. He also used his own abbreviations and no punctuation.At his death Leonardo bequeathed his entire output of notes to his friend and companion Francesco Melzi, who kept them safe until his own death in 1570. Melzi left the collection in turn to his son Orazio, whose lack of interest in the arts and sciences resulted in a sad period of dispersal which endangered their survival, but in 1636 the bulk of them, in thirteen volumes, were assembled and donated to the Ambrosian Library in Milan. These include a large volume of notes and drawings compiled from the various portions of the notebooks and is now known as the Codex Atlanticus. There they stayed, forgotten and ignored, until 1796, when Napoleon's marauding army overran Italy and art and literary works, including the thirteen volumes of Leonardo's notebooks, were pillaged and taken to Paris. After the war in 1815, the French government agreed to return them but only the Codex Atlanticus found its way back to Milan; the rest remained in Paris. The appendix to one notebook, dealing with the flight of birds, was later regarded as of sufficient importance to stand on its own. Four small collections reached Britain at various times during the seventeenth and eighteenth centuries; of these, the volume in the Royal Collection at Windsor Castle is notable for its magnificent series of anatomical drawings. Other collections include the Codex Leicester and Codex Arundel in the British Museum in London, and the Madrid Codices in Spain.Towards the end of the nineteenth century, Leonardo's true stature as scientist, engineer and inventor began to emerge, particularly with the publication of transcriptions and translations of his notebooks. The volumes in Paris appeared in 1881–97 and the Codex Atlanticus was published in Milan between 1894 and 1904.[br]Principal Honours and Distinctions"Premier peintre, architecte et mécanicien du Roi" to King François I of France, 1516.Further ReadingE.MacCurdy, 1939, The Notebooks of Leonardo da Vinci, 2 vols, London; 2nd edn, 1956, London (the most extensive selection of the notes, with an English translation).G.Vasari (trans. G.Bull), 1965, Lives of the Artists, London: Penguin, pp. 255–271.C.Gibbs-Smith, 1978, The Inventions of Leonardo da Vinci, Oxford: Phaidon. L.H.Heydenreich, Dibner and L. Reti, 1981, Leonardo the Inventor, London: Hutchinson.I.B.Hart, 1961, The World of Leonardo da Vinci, London: Macdonald.LRD / IMcN -
11 Cros, Charles
SUBJECT AREA: Photography, film and optics[br]b. 1842 Franced. 1888[br]French doctor, painter and man of letters who pioneered research into colour photography.[br]A man of considerable intellect, Cros occupied himself with studies of topics as diverse as Sanskrit and the synthesis of precious stones. He was in particular interested in the possibility of colour photography, and deposited an account of his theories in a sealed envelope with the Académie des Sciences on 2 December 1867, with instructions that it should be opened in 1876. Learning of a forthcoming presentation on colour photography by Ducos du Hauron at the Société Française de Photographie, he arranged for the contents of his communication to be published on 25 February 1869 in Les Mondes. At the Société's meeting on 7 May 1869, Cros's letter was read and samples of colour photography from Ducos du Hauron were shown. Both had arrived at similar conclusions: that colour photography was possible with the analysis of colours using negatives exposed through red, green and blue filters, as demonstrated by Clerk Maxwell in 1861. These records could be reproduced by combining positive images produced in blue-green, magenta and yellow pigments or dyes. Cros and Ducos du Hauron had discovered the principle of subtractive colour photography, which is used in the late twentieth century. In 1878 Cros designed the Chromometre, a device for measuring colours by mixing red, green and blue light, and described the device in a paper to the Société Française de Photographie on 10 January 1879. With suitable modification, the device could be used as a viewer for colour photographs, combining red, green and blue positives. In 1880 he patented the principle of imbibition printing, in which dye taken up by a gelatine relief image could be transferred to another support. This principle, which he called hydrotypie, readily made possible the production of three-colour subtractive photographic prints.[br]Further ReadingJ.S.Friedman, 1944, History of Colour Photography, Boston. Gert Koshofer, 1981, Farbefotografie, Vol. I, Munich.BC -
12 suppose
[sə'pəʊz] transitive verb1) (assume) annehmenalways supposing that... — immer vorausgesetzt, dass...
suppose we wait until tomorrow — wir könnten eigentlich bis morgen warten
2) (presume) vermutenI supposed she was in Glasgow — ich vermutete sie in Glasgow
I don't suppose you have an onion to spare? — Sie haben wohl nicht zufällig eine Zwiebel übrig?
we're not going to manage it, are we? - I suppose not — wir werden es wohl nicht schaffen - ich glaube kaum
I suppose so — ich nehme es an; (doubtfully) ja, vermutlich; (more confidently) ich glaube schon
3)be supposed to do/be something — (be generally believed to do/be something) etwas tun/sein sollen
4) (allow)you are not supposed to do that — das darfst du eigentlich nicht
I'm not supposed to be here — ich dürfte eigentlich gar nicht hier sein
5) (presuppose) voraussetzen* * *sup·pose[səˈpəʊz, AM -ˈpoʊz]vt1. (think likely)▪ to \suppose [that]... annehmen [o vermuten], dass...what time do you \suppose he'll be arriving? wann, glaubst du, wird er ankommen?I had always \supposed that he was innocent ich war immer der Meinung, dass er unschuldig istI \suppose you think that's funny du hältst das wohl auch noch für komischthat's not a very good idea — no, I \suppose not das ist keine sehr gute Idee — ja, das glaube ich auchwill they have arrived by now? — I don't \suppose so ob sie jetzt wohl angekommen sind? — das glaube ich eigentlich nichtI \suppose/don't \suppose wohl/wohl kaumI \suppose all the tickets will be sold by now die Tickets werden wohl inzwischen ausverkauft sein2. (as admission) denken, annehmenI'm very popular, I \suppose ich bin sehr beliebt, nehm' ich mal an3. (to introduce hypothesis) annehmen\suppose he was there... angenommen er war hier...4. (as a suggestion)\suppose we leave right away? wie wär's, wenn wir jetzt gleich fahren würden?▪ to \suppose sth etw voraussetzen6. (believe)▪ to \suppose sth etw glauben [o vermuten]I \suppose she would have been about 70 when she died ich vermute, sie war so um die 70, als sie starbwe all \supposed him to be German wir haben alle gedacht, dass er Deutscher seiher new book is \supposed to be very good ihr neues Buch soll sehr gut seinit is commonly \supposed that... es wird allgemein angenommen, dass...▪ to be \supposed to do sth etw tun sollenyou're \supposed to be asleep du solltest eigentlich schon schlafenhow am I \supposed to find that much money? woher soll ich nur das ganze Geld nehmen?▪ to be not \supposed to do sth etw nicht tun dürfenyou're not \supposed to park here sie dürfen hier nicht parken9.▶ I \suppose so wahrscheinlich, wenn du meinst* * *[sə'pəʊz]vtlet us suppose we are living in the 8th century — stellen wir uns einmal vor, wir lebten im 8. Jahrhundert
let us suppose that X equals 3 — angenommen, X sei gleich 3
even supposing it were or was true — (sogar) angenommen, dass es wahr ist, angenommen, es sei wahr
always supposing he comes — immer vorausgesetzt, (dass) er kommt
2) (= believe, think) annehmen, denkenI suppose he'll come — ich nehme an, (dass) er kommt, er wird wohl or vermutlich kommen
I don't suppose he'll come —
I suppose he won't come — ich denke, er wird nicht kommen, er wird wohl nicht kommen
I suppose that's the best thing, that's the best thing, I suppose —
he's rich, I suppose — er muss wohl reich sein
you're coming, I suppose? — ich nehme an, du kommst?
do you suppose we could have dinner some evening? — meinen Sie, wir könnten einmal abends zusammen essen gehen?
you ought to be leaving – I suppose so — du solltest jetzt gehen – stimmt wohl
I don't suppose so —
isn't he coming? – I suppose not — kommt er nicht? – ich glaube kaum
so you see, it can't be true – I suppose not — da siehst du selbst, es kann nicht stimmen – du wirst wohl recht haben
he can't very well refuse, can he? – I suppose not — er kann wohl kaum ablehnen, oder? – eigentlich nicht
he is generally supposed to be rich — er gilt als reich
3)(modal use in pass
= ought) to be supposed to do sth — etw tun sollenhe's the one who's supposed to do it —
you're supposed to be in bed — du solltest eigentlich im Bett sein, du gehörst eigentlich ins Bett
you're not supposed to (do that) —
4)= I suggest) suppose we have a go? —suppose we buy it? — wie wäre es, wenn wir es kauften?
suppose you have a wash? — wie wärs, wenn du dich mal wäschst?
5) (= presuppose) voraussetzen* * *suppose [səˈpəʊz]A v/tthat dass);always supposing that … immer vorausgesetzt, dass …;it is to be supposed that … es ist anzunehmen, dass …2. imp (einen Vorschlag einleitend) wie wäre es, wenn (wir einen Spaziergang machten?):suppose we went for a walk!3. vermuten, glauben, meinen:they are English, I suppose es sind wohl oder vermutlich Engländer;I suppose I must have fallen asleep ich muss wohl eingeschlafen sein4. (mit akk und inf) halten für:he is supposed (to be) rich er soll reich sein5. (notwendigerweise) voraussetzen:6. (passiv mit inf) sollen:a grammarian is supposed to know (the) grammar von einem Grammatiker erwartet man, dass er die Grammatik kennt;you are not supposed to know everything du brauchst nicht alles zu wissen;what is that supposed to mean? was soll denn das?* * *[sə'pəʊz] transitive verb1) (assume) annehmensuppose or supposing [that] he... — angenommen, [dass] er...
always supposing that... — immer vorausgesetzt, dass...
2) (presume) vermutenwe're not going to manage it, are we? - I suppose not — wir werden es wohl nicht schaffen - ich glaube kaum
I suppose so — ich nehme es an; (doubtfully) ja, vermutlich; (more confidently) ich glaube schon
3)be supposed to do/be something — (be generally believed to do/be something) etwas tun/sein sollen
4) (allow)5) (presuppose) voraussetzen* * *v.annehmen v.mutmaßen v.vermuten v.voraussetzen v. -
13 neither here nor there
разг.некстати, не относится к делу; несущественно, не имеет значения (ср. ни к селу ни к городу)‘In three months,’ said the painter, ‘you'll hardly finish your case.’ Meredith smiled ruefully. ‘I'm afraid not. Fortunately the Church doesn't care to hurry these things. A century or two is neither here nor there.’ (M. West, ‘The Devil's Advocate’, ch. XI) — - через три месяца, - сказал художник, - вы вряд ли закончите порученное вам дело. - Боюсь, что не закончу, - грустно улыбнулся Мередит. - К счастью, в вопросах канонизации церковь не торопится. Задержка на одно-два столетия не имеет значения.
‘I hope you were pleased with everything you heard,’ she said... ‘That's neither here nor there,’ I said. (C. P. Snow, ‘The Affair’, ch. 4) — - Надеюсь, вы остались довольны тем, что услышали, - спросила Лаура... - Это к делу не относится, - ответил я.
-
14 portrait
portrait ['pɔ:treɪt]1 noun∎ he had his portrait painted il a fait faire son portrait;∎ a portrait of 18th century society un portrait de la société du XVIIIème siècle∎ to print sth in portrait imprimer qch en portrait, imprimer qch à la françaiseTypography & Computing au format portrait, à la française►► portrait bust (portrait m en) buste m;portrait gallery galerie f de portraits;Computing portrait mode mode m portrait;portrait painter portraitiste mf;portrait painting le portrait;portrait photograph portrait m photographique, photo-portrait f;portrait photographer photographe mf portraitiste -
15 neither here nor there
paзг.нeкcтaти, нe oтнocитcя к дeлу; нecущecтвeннo, нe имeeт знaчeния (cp. ни к ceлу ни к гopoду)'I hope you were pleased with everything you heard,' she said. 'That's neither here nor there,' I said (C. P. Snow). 'In three months,' said the painter, 'you'll hardly finish your case'. Meredith smiled ruefully. 'I'm afraid not. Fortunately the Church doesn't care to hurry these things [кaнoнизaция]. A century or two is neither here nor there' (M. West)
См. также в других словарях:
The Cantos — by Ezra Pound is a long, incomplete poem in 120 sections, each of which is a canto . Most of it was written between 1915 and 1962, although much of the early work was abandoned and the early cantos, as finally published, date from 1922 onwards.… … Wikipedia
Francisco López (painter of 17th century) — Francisco López (early 17th century) was a Spanish painter and engraver. He was a pupil of Bartolommeo Carducci, whom he assisted in 1595 in painting for the church of San Felipe el Real at Madrid, destroyed by fire in 1718. He was appointed… … Wikipedia
The Gas Heart — Written by Tristan Tzara Characters Mouth Ear Eye Nose Neck Eyebrow Date premiered 1921 … Wikipedia
The Secret of Elena’s Tomb — The Secret of Elena s Tomb Extended Play von ...And You Will Know Us by the Trail of Dead Veröffentlichung April 2003 Label Interscope Records … Deutsch Wikipedia
The Reformation and art — Hans Holbein the Younger s Noli me tangere a relatively rare Protestant oil painting of Christ. It is small, and generally naturalistic in style, avoiding iconic elements like the halo, which is barely discernible. The Protestant Reformation… … Wikipedia
The Trial — This article is about the novel by Kafka. For other uses, see The Trial (disambiguation). The Trial … Wikipedia
The Lute Player (Caravaggio) — Infobox Painting| title=The Lute Player artist=Caravaggio year=c. 1596 type=Oil on canvas height=100 width=126,5 museum=Wildenstein Collection The Lute Player is a composition by the Italian Baroque master Caravaggio. It exists in three versions … Wikipedia
The Dark Tower (series) — For other uses, see The Dark Tower (disambiguation). The Dark Tower The Dark Tower painting by Michael Whelan The Gunslinger (1982) The Drawing of the Three (1987) The … Wikipedia
The League of Extraordinary Gentlemen, Volume I — Supercbbox| title = The League of Extraordinary Gentlemen, Volume I caption = Cover schedule = format = publisher = Wildstorm/DC Comics date = 1999 2000 issues = 6 main char team = Mina Murray Allan Quatermain Hawley Griffin Dr. Jekyll/Edward… … Wikipedia
The Eleventh Hour (album) — Infobox Album Name = The Eleventh Hour Type = Album Artist = Jars Of Clay Released = March 5, 2002 Recorded = 2001 2002 Genre = Rock Length = 42:26 Label = Essential Records Producer = Jars Of Clay Reviews = *Allmusic Rating|4|5… … Wikipedia
The Irish (in Countries Other Than Ireland) — The Irish (in countries other than Ireland) † Catholic Encyclopedia ► The Irish (in countries other than Ireland) I. IN THE UNITED STATES Who were the first Irish to land on the American continent and the time of their arrival are … Catholic encyclopedia