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1 appel
appel [apεl]1. masculine nouna. ( = cri) call• appel à l'aide or au secours call for helpb. ( = sollicitation) call• appel aux armes/aux urnes call to arms/to vote• offre/prix d'appel introductory offer/price• article or produit d'appel loss leaderc. faire appel à ( = invoquer) to appeal to ; ( = avoir recours à) to call on ; ( = nécessiter) to call for• faire appel au bon sens/à la générosité de qn to appeal to sb's common sense/generosity• ce problème fait appel à des connaissances qu'il n'a pas this problem calls for knowledge he hasn't got• faire l'appel (en classe) to call the register (Brit) to take attendance (US) ; (à l'armée) to call the roll• absent/présent à l'appel [élève] absent/presente. ( = recours en justice) appeal• sans appel [décision] finali. ( = élan) take-offj. (Computing) call2. compounds* * *apɛlnom masculin1) ( invitation pressante) call‘dernier appel pour Tokyo’ — ‘last call for Tokyo’
appel au secours — lit call for help; fig cry for help
2) ( supplique) appeal3) ( incitation)lancer un appel à — to call for [solidarité, grève]; to appeal for [calme]
4) Télécommunications callappel téléphonique/radio — phone/radio call
5) ( recours)faire appel à — [personne] to call [pompiers, police, spécialiste]; to bring in [artiste]; to call up [capitaux]; [gouvernement] to call in [armée, police, puissance étrangère]; [tâche] to call for [connaissances]
6) ( vérification) gén roll call; École registrationfaire l'appel — gén to take the roll call; École to take the register
manquer à l'appel — gén to be absent at the roll call; École to be absent at registration
7) Armée ( convocation) call up GB, draft US8) ( attirance)l'appel de — the call of [large, forêt]
9) Droit appealsans appel — lit without further right of appeal
une décision sans appel — fig a final decision
condamner sans appel — fig to condemn out of hand
10) Sport take off11) Jeux ( aux cartes) signal12) Informatique calld'appel — [programme, station, séquence] calling (épith); [demande, indicatif, mot] call (épith)
•Phrasal Verbs:* * *apɛl nm1) (pour héler, demander de l'aide) call2) (téléphonique) call3) (pour exhorter ou inciter) callproduit d'appel COMMERCE — loss leader
4) (pour une collecte) appealIls ont lancé un appel pour venir en aide aux victimes. — They launched an appeal to help the victims.
5) (nominal) MILITAIRE roll call, ÉDUCATION registerfaire l'appel MILITAIRE — to call the roll, ÉDUCATIONto call the register
6) (= recrutement) MILITAIRE call-up7) DROIT (après un jugement) appealfaire appel — to appeal, to lodge an appeal
interjeter appel — to appeal, to lodge an appeal
sans appel fig — final, irrevocable
faire appel à (= invoquer) — to appeal to, (= avoir recours à) to call on, (= nécessiter) to call for, to require
* * *appel nm1 ( invitation pressante) call; ‘dernier appel pour Tokyo’ ‘last call for Tokyo’; appel au secours lit call for help; fig cry for help; les enfants se sont enfuis à l'appel de leur mère the children ran away when they heard their mother calling; l'appel des syndicats n'a pas été entendu the call of the trade unions was not heeded; il m'a fait un appel du regard he signalledGB to me with his eyes; l'appel des fidèles à la messe calling the faithful to mass; l'appel de la cloche le dimanche the ringing of church bells on Sundays;2 ( supplique) appeal, plea; un appel pathétique/solennel a pathetic/solemn appeal; lancer un appel (en faveur de) to make an appeal (on behalf of); appel à l'aide plea ou appeal for aid; répondre or se rendre à l'appel de to respond to the appeal of; lancer un appel à la télévision/à la radio to put out an appeal on television/on the radio;3 ( incitation) appel à call for [solidarité]; appeal for [calme]; call to [révolte]; plea for [clémence]; appel à la grève strike call; lancer un appel à to call for [solidarité, grève]; to appeal for [calme]; to call to [révolte, armes]; appel au meurtre death threat; lancer un appel au meurtre contre qn to call for sb's assassination;4 Télécom call; appel téléphonique phone call; appel radio radio call; un appel de Londres pour vous a call from London for you; prendre/recevoir un appel to take/to get a call;5 ( recours) appel à appeal to [personne, générosité, bon sens]; faire appel à [personne] to call [pompiers, police, spécialiste]; to bring in [artiste, architecte]; to call up [capitaux]; [gouvernement] to call in [armée, police, puissance étrangère]; to call for [intervention]; [tâche] to call for [connaissances, notions]; faire appel à la justice to go to court;6 ( vérification) gén roll call; Scol registration; faire l'appel gén to take the roll call; Scol to take the register; manquer à l'appel gén to be absent at the roll call; Scol to be absent at registration;9 Jur appeal; faire appel to appeal; faire appel d'un jugement to appeal against a decision; perdre en appel to lose an appeal; juger en appel to hear an appeal; sans appel lit without further right of appeal; une décision sans appel fig a final decision; condamner sans appel fig to condemn out of hand;11 Jeux ( aux cartes) signal; faire un appel to signal for a card; faire un appel à cœur to ask for a return in hearts;12 Ordinat call; d'appel [programme, station, séquence] calling ( épith); [demande, indicatif, mot] call ( épith);l' appel du 18 juin Hist General de Gaulle's appeal of 18 June 1940; appel d'air draught GB, draft US; créer or faire un appel d'air to create a draught GB ou draft US; appel des causes Jur roll call of matters listed; appel de fonds Fin call for capital; faire un appel de fonds to call for capital, to call up capital; appel d'offres Admin invitation to tender; lancer un appel d'offres to invite tenders; appel de phares flash of headlights GB ou high beams US; faire un appel de phares to flash one's headlights GB ou high beams US; appel du pied○ veiled invitation, discreet appeal.[apɛl] nom masculin1. [cri] callun appel au secours ou à l'aidel'appel du 18 juin 1940General de Gaulle's radio appeal to the French people to resist the occupying Nazi forcesb. [d'une personne] call for help2. [coup de téléphone]appel (téléphonique) (telephone ou phone) call3. [sollicitation] appeala. [clémence, générosité] to appeal tob. [courage, intelligence, qualité, souvenirs] to summon (up)faire appel à l'armée to call in the army, to call the army outaller en appel to appeal, to go to appeal6. [liste de présence] roll callappel d'une classe call-up ou calling up of a class7. INFORMATIQUE callappel par référence/valeur call by reference/valueprogramme/séquence d'appel call routine/sequence8. JEUXfaire un appel à cœur/carreau to signal for a heart/diamond10. TECHNOLOGIEsans appel locution adjectivale2. [irrévocable] irrevocablec'est sans appel there's no going back on it, it's final -
2 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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