-
101 sweep
1 noun(a) (with a brush) coup m de balai;∎ the room needs a good sweep la pièce aurait besoin d'un bon coup de balai∎ with a sweep of her arm d'un geste large;∎ with a sweep of his sword/scythe d'un grand coup d'épée/de faux;∎ to make a wide sweep to take a bend prendre du champ pour effectuer un virage;∎ her eyes made a sweep of the room elle parcourut la pièce des yeux;∎ they jumped over the wall between two sweeps of the searchlight ils sautèrent par-dessus le mur entre deux mouvements du projecteur;∎ in or at one sweep d'un seul coup∎ a vast sweep of woodland une vaste étendue de forêt;∎ from where we stood, we could see the whole sweep of the bay de là où nous étions, nous voyions toute (l'étendue de) la baie;∎ the sweep of a car's lines le galbe d'une voiture(d) (range → of gun, telescope) champ m; (→ of lighthouse) balayage m, portée f; (→ of wings) envergure f; (→ of knowledge) étendue f; (→ of opinion) éventail m;∎ the members of the commission represent a broad sweep of opinion les membres de la commission représentent un large éventail d'opinions∎ police made a drugs sweep on the university la police a ratissé l'université à la recherche de drogues;∎ the rescue party made a sweep of the area l'équipe de secours a ratissé les environs ou passé les environs au peigne fin;∎ to make a sweep for mines chercher des mines(f) (chimney sweep) ramoneur m(i) (rapid flow → of river) course f ou flot m rapide∎ to vary the angle of sweep varier la flèche(in rowing) en pointe∎ to sweep the floor balayer le sol;∎ he swept the room il a balayé la pièce;∎ the steps had been swept clean quelqu'un avait balayé l'escalier;∎ she swept the leaves from the path into a pile elle balaya les feuilles du chemin et les mit en tas;∎ I swept the broken glass into the dustpan j'ai poussé le verre cassé dans la pelle avec le balai;∎ he angrily swept the papers off the desk d'un geste furieux, il balaya les papiers de dessus le bureau;∎ she swept the coins off the table into her handbag elle a fait glisser les pièces de la table dans son sac à main(c) (of wind, tide, crowd etc)∎ her dress sweeps the ground sa robe balaie le sol;∎ a storm swept the town un orage ravagea la ville;∎ the wind swept his hat into the river le vent a fait tomber son chapeau dans la rivière;∎ the small boat was swept out to sea le petit bateau a été emporté vers le large;∎ three fishermen were swept overboard un paquet de mer emporta trois pêcheurs;∎ figurative the victorious army swept all before it l'armée victorieuse a tout balayé sur son passage;∎ the incident swept all other thoughts from her mind l'incident lui fit oublier tout le reste;∎ he was swept to power on a wave of popular discontent il a été porté au pouvoir par une vague de mécontentement populaire;∎ he swept her off to Paris for the weekend il l'a emmenée en week-end à Paris;∎ to be swept off one's feet (fall in love) tomber fou amoureux; (be filled with enthusiam) être enthousiasmé;∎ to sweep the board rafler tous les prix;∎ the German athletes swept the board at the Olympics les athlètes allemands ont remporté toutes les médailles aux jeux Olympiques(d) (spread through → of fire, epidemic, rumour, belief) gagner;∎ a new craze is sweeping America une nouvelle mode fait fureur aux États-Unis;∎ a wave of fear swept the city une vague de peur gagna la ville;∎ the flu epidemic which swept Europe in 1919 l'épidémie de grippe qui sévit en Europe en 1919(e) (scan, survey) parcourir;∎ her eyes swept the horizon/the room elle parcourut l'horizon/la pièce des yeux;∎ to sweep the horizon with a telescope parcourir ou balayer l'horizon avec un télescope;∎ searchlights continually sweep the open ground outside the prison camp des projecteurs parcourent ou balayent sans cesse le terrain qui entoure la prison(f) (win easily) gagner ou remporter haut la main;∎ the Popular Democratic Party swept the polls le parti démocratique populaire a fait un raz-de-marée aux élections;∎ the port has been swept for mines le port a été dragué(a) (with a brush) balayer(b) (move quickly, powerfully)∎ harsh winds swept across the bleak steppes un vent violent balayait les mornes steppes;∎ the beam swept across the sea le faisceau lumineux balaya la mer;∎ I watched storm clouds sweeping across the sky je regardais des nuages orageux filer dans le ciel;∎ a hurricane swept through the town un ouragan a dévasté la ville;∎ the Barbarians who swept into the Roman Empire les Barbares qui déferlèrent sur l'Empire romain;∎ a wave of nationalism swept through the country une vague de nationalisme a déferlé sur le pays;∎ the memories came sweeping back tous ces souvenirs me/lui/ etc sont revenus à la mémoire;∎ a wave of panic swept over him une vague de panique le submergea;∎ the planes swept low over the town les avions passèrent en rase-mottes au-dessus de la ville;∎ the fire swept through the forest l'incendie a ravagé la forêt(c) (move confidently, proudly)∎ he swept into the room il entra majestueusement dans la pièce;∎ she swept past me without even a glance elle passa majestueusement à côté de moi sans même m'adresser un regard(d) (stretch → land) s'étendre;∎ the rolling prairies sweep away into the distance les prairies ondoyantes se perdent dans le lointain;∎ the fields sweep down to the lake les prairies descendent en pente douce jusqu'au lac;∎ the river sweeps round in a wide curve le fleuve décrit une large courbe∎ to sweep for mines draguer, déminer►► sweep boat bateau m en pointe;sweep hand trotteuse f;sweep rowing nage f en pointe(of wind, tide, crowd) emporter, entraîner;∎ we were swept along by a tide of nationalism nous avons été balayés par une vague nationaliste(a) (object, person) écarter(a) (dust, snow) balayer(b) (of wind, tide, crowd) emporter, entraîner;∎ three bathers were swept away by a huge wave trois baigneurs ont été emportés par une énorme vague(car) passer à toute vitesse; (person → majestically) passer majestueusement; (→ disdainfully) passer dédaigneusement∎ hills sweeping down to the sea des collines qui descendent vers la mer∎ the enemy swept down on us l'ennemi s'abattit ou fonça sur nous(clean → room) balayer➲ sweep past = sweep by➲ sweep up(dust, leaves) balayer;∎ she swept up the pieces of glass elle balaya les morceaux de verre;∎ he swept the leaves up into a pile il fit un tas des feuilles en les balayant;∎ with her hair swept up into a chignon avec ses cheveux relevés en chignon;∎ she swept up her two babies and… en toute hâte, elle prit ses deux bébés dans ses bras et…(a) (clean up) balayer;∎ can you sweep up after the meeting? peux-tu balayer ou peux-tu passer un coup de balai après la réunion?∎ she swept up to me (majestically) elle s'approcha de moi d'un pas majestueux; (angrily) elle s'approcha de moi d'un pas furieux;∎ the car swept up to the main entrance (quickly) la voiture s'approcha à toute allure de l'entrée principale; (impressively) la voiture s'approcha à une allure majestueuse de l'entrée principale -
102 to
to [tu:, unstressed tə]à ⇒ 1A (a)-(c), 1A (e), 1B (b), 1D (a), 1D (l) en ⇒ 1A (c) jusqu'à ⇒ 1A (d), 1B (b) contre ⇒ 1A (e) pour ⇒ 1C (f), 1C (g), 1D (b) de ⇒ 1D (i)A.∎ to go to school/the cinema aller à l'école/au cinéma;∎ let's go to town allons en ville;∎ he climbed to the top il est monté jusqu'au sommet ou jusqu'en haut;∎ she ran to where her mother was sitting elle a couru (jusqu')à l'endroit où sa mère était assise;∎ we've been to it before nous y sommes déjà allés;∎ the vase fell to the ground le vase est tombé par ou à terre;∎ I invited them to dinner je les ai invités à dîner;∎ he returned to his work il est retourné à son ou il a repris son travail;∎ let's go to Susan's allons chez Susan;∎ to go to the doctor or doctor's aller chez le médecin;∎ he pointed to the door il a pointé son doigt vers la porte;∎ the road to the south la route du sud;∎ our house is a mile to the south notre maison est à un mile au sud;∎ it's 12 miles to the nearest town (from here) nous sommes à 12 miles de la ville la plus proche; (from there) c'est à 12 miles de la ville la plus proche;∎ what's the best way to the station? quel est le meilleur chemin pour aller à la gare?;∎ she turned his photograph to the wall elle a retourné sa photo contre le mur;∎ I sat with my back to her j'étais assis lui tournant le dos;∎ tell her to her face dites-le-lui en face(b) (indicating location, position) à;∎ the street parallel to this one la rue parallèle à celle-ci;∎ she lives next door to us elle habite à côté de chez nous;∎ to one side d'un côté;∎ to the left/right à gauche/droite;∎ the rooms to the back les chambres de derrière;∎ to leave sth to one side laisser qch de côté∎ to Madrid à Madrid;∎ to Le Havre au Havre;∎ to France en France;∎ to Argentina en Argentine;∎ to Japan au Japon;∎ to the United States aux États-Unis;∎ I'm off to Paris je pars à ou pour Paris;∎ the road to Chicago la route de Chicago;∎ on the way to Milan en allant à Milan, sur la route de Milan;∎ planes to and from Europe les vols à destination et en provenance de l'Europe(d) (indicating age, amount or level reached) jusqu'à;∎ the snow came (up) to her knees la neige lui arrivait aux genoux;∎ unemployment is up to nearly 9 percent le (taux de) chômage atteint presque les 9 pour cent;∎ they cut expenses down to a minimum ils ont réduit les frais au minimum;∎ she can count (up) to one hundred elle sait compter jusqu'à cent;∎ it's accurate to the millimetre c'est exact au millimètre près;∎ it weighs 8 to 9 pounds ça pèse entre 8 et 9 livres;∎ moderate to cool temperatures des températures douces ou fraîches;∎ to live to a great age vivre jusqu'à un âge avancé(e) (so as to make contact with) à, contre;∎ she pinned the brooch to her dress elle a épinglé la broche sur sa robe;∎ they sat in bumper-to-bumper traffic ils étaient coincés pare-chocs contre pare-chocs;∎ they danced cheek to cheek ils dansaient joue contre joue;∎ he clutched the baby to his chest il a serré l'enfant contre luiB.∎ it's ten minutes to three il est trois heures moins dix;∎ we left at a quarter to six nous sommes partis à six heures moins le quart;∎ it's twenty to il est moins vingt;∎ how long is it to dinner? on dîne dans combien de temps?;∎ there are only two weeks to Christmas il ne reste que deux semaines avant Noël(b) (up to and including) (jusqu')à;∎ from Tuesday night to Thursday morning du mardi soir (jusqu')au jeudi matin;∎ from morning to night du matin au soir;∎ from March to June de mars (jusqu')à juin;∎ a nine-to-five job des horaires mpl de fonctionnaire;∎ it was three years ago to the day since I saw her last il y a trois ans jour pour jour que je l'ai vue pour la dernière fois;∎ to this day jusqu'à ce jour, jusqu'à aujourd'hui;∎ he was brave (up) to the last il a été courageux jusqu'au bout ou jusqu'à la fin;∎ from day to day de jour en jour;∎ I read it from beginning to end je l'ai lu du début (jusqu')à la fin;∎ from bad to worse de mal en pis;∎ I do everything from scrubbing the floor to keeping the books je fais absolument tout, depuis le ménage jusqu'à la comptabilitéC.∎ to talk parler;∎ to open ouvrir;∎ to answer répondre∎ she lived to be a hundred elle a vécu jusqu'à cent ans;∎ we are to complete the work by Monday nous devons finir le travail pour lundi;∎ she went on to become a brilliant guitarist elle est ensuite devenue une excellente guitariste;∎ I finally accepted, (only) to find that they had changed their mind lorsque je me suis décidé à accepter, ils avaient changé d'avis;∎ she turned round to find him standing right in front of her lorsqu'elle s'est retournée, elle s'est retrouvée nez à nez avec lui;∎ he left the house never to return to it again il quitta la maison pour ne plus y revenir;∎ he dared to speak out against injustice il a osé s'élever contre l'injustice;∎ you can leave if you want to vous pouvez partir si vous voulez;∎ why? - because I told you to pourquoi? - parce que je t'ai dit de le faire;∎ would you like to come? - we'd love to voulez-vous venir? - avec plaisir ou oh, oui!;∎ you ought to vous devriez le faire;∎ we shall have to il le faudra bien, nous serons bien obligés∎ I have a lot to do j'ai beaucoup à faire;∎ I have a letter to write j'ai une lettre à écrire;∎ that's no reason to leave ce n'est pas une raison pour partir;∎ I haven't got money to burn je n'ai pas d'argent à jeter par les fenêtres;∎ the first to complain le premier à se plaindre;∎ the house to be sold la maison à vendre;∎ there was not a sound to be heard on n'entendait pas le moindre bruit;∎ he isn't one to forget his friends il n'est pas homme à oublier ses amis;∎ that's the way to do it voilà comment il faut faire∎ I'm happy/sad to see her go je suis content/triste de la voir partir;∎ pleased to meet you enchanté (de faire votre connaissance);∎ difficult/easy to do difficile/facile à faire;∎ it was strange to see her again c'était bizarre de la revoir;∎ she's too proud to apologize elle est trop fière pour s'excuser;∎ he's old enough to understand il est assez grand pour comprendre(e) (after "how", "which", "where" etc)∎ do you know where to go? savez-vous où aller?;∎ he told me how to get there il m'a dit comment y aller;∎ can you tell me when to get off? pourriez-vous me dire quand je dois descendre?;∎ she can't decide whether to go or not elle n'arrive pas à décider si elle va y aller ou non(f) (indicating purpose) pour;∎ I did it to annoy her je l'ai fait exprès pour l'énerver;∎ to answer that question, we must… pour répondre à cette question, il nous faut…(g) (introducing statement) pour;∎ to be honest/frank pour être honnête/franc;∎ to put it another way en d'autres termes∎ oh, to be in England! ah, si je pouvais être en Angleterre!;∎ and to think I nearly married him! quand je pense que j'ai failli l'épouser!∎ unions to strike les syndicats s'apprêtent à déclencher la grève;∎ Russia to negotiate with Baltic States la Russie va négocier avec les pays BaltesD.(a) (indicating intended recipient, owner) à;∎ I showed the picture to her je lui ai montré la photo;∎ I showed it to her je le lui ai montré;∎ show it to her montrez-le-lui;∎ the person I spoke to la personne à qui j'ai parlé;∎ that book belongs to her ce livre lui appartient;∎ be kind to him/to animals soyez gentil avec lui/bon envers les animaux;∎ what's it to him? qu'est-ce que cela peut lui faire?;∎ it doesn't matter to her ça lui est égal;∎ did you have a room to yourself? avais-tu une chambre à toi ou pour toi tout seul?;∎ to keep sth to oneself garder qch pour soi;∎ I said to myself je me suis dit;∎ he is known to the police il est connu de la police(b) (in the opinion of) pour;∎ $2 is a lot of money to some people il y a des gens pour qui 2 dollars représentent beaucoup d'argent;∎ it sounds suspicious to me cela me semble bizarre;∎ it didn't make sense to him ça n'avait aucun sens pour lui∎ with a view to clarifying matters dans l'intention d'éclaircir la situation;∎ it's all to no purpose tout cela ne sert à rien ou est en vain∎ the light changed to red le feu est passé au rouge;∎ the noise drove him to distraction le bruit le rendait fou;∎ the rain turned to snow la pluie avait fait place à la neige;∎ her admiration turned to disgust son admiration s'est transformée en dégoût;∎ (much) to my relief/surprise/delight à mon grand soulagement/mon grand étonnement/ma grande joie;∎ (much) to my horror, I found the money was missing c'est avec horreur que je me suis rendu compte que l'argent avait disparu;∎ the meat was done to perfection la viande était cuite à la perfection;∎ smashed to pieces brisé en mille morceaux;∎ moved to tears ému (jusqu')aux larmes;∎ he was beaten to death il a été battu à mort;∎ they starved to death ils sont morts de faim;∎ the court sentenced him to death le juge l'a condamné à mort;∎ she rose rapidly to power elle est arrivée au pouvoir très rapidement;∎ she sang the baby to sleep elle a chanté jusqu'à ce que le bébé s'endorme∎ the answer to your question la réponse à votre question;∎ a hazard to your health un danger pour votre santé;∎ what's your reaction to all this? comment réagissez-vous à tout ça?;∎ no one was sympathetic to his ideas ses idées ne plaisaient à personne;∎ what would you say to a game of bridge? que diriez-vous d'un bridge?, si on faisait un bridge?;∎ that's all there is to it c'est aussi simple que ça;∎ there's nothing to it il n'y a rien de plus simple;∎ there's nothing or there isn't a lot to these cameras ils ne sont pas bien compliqués, ces appareils photos;∎ to services rendered (on bill) pour services rendus∎ there are 16 ounces to a pound il y a 16 onces dans une livre;∎ there are 6 francs to the dollar un dollar vaut 6 francs;∎ there are 25 chocolates to a box il y a 25 chocolats dans chaque ou par boîte;∎ one cup of sugar to every three cups of fruit une tasse de sucre pour trois tasses de fruits;∎ three is to six as six is to twelve trois est à six ce que six est à douze;∎ Milan beat Madrid by 4 (points) to 3 Milan a battu Madrid 4 (points) à 3;∎ I'll bet 100 to 1 je parierais 100 contre 1;∎ the odds are 1000 to 1 against it happening again il y a 1 chance sur 1000 que cela se produise à nouveau;∎ the vote was 6 to 3 il y avait 6 voix contre 3∎ how many miles do you get to the gallon? ≃ vous faites combien de litres au cent?∎ inferior to inférieur à;∎ they compare her to Callas on la compare à (la) Callas;∎ that's nothing (compared) to what I've seen ce n'est rien à côté de ce que j'ai vu;∎ inflation is nothing (compared) to last year l'inflation n'est rien à côté de ou en comparaison de l'année dernière;∎ as a cook she's second to none comme cuisinière on ne fait pas mieux;∎ to prefer sth to sth préférer qch à qch∎ the key to this door la clé de cette porte;∎ he's secretary to the director/to the committee c'est le secrétaire du directeur/du comité;∎ she's assistant to the president c'est l'adjointe du président;∎ the French ambassador to Algeria l'ambassadeur français en Algérie;∎ ambassador to the King of Thailand ambassadeur auprès du roi de Thaïlande;∎ she's interpreter to the president c'est l'interprète du président;∎ Susan, sister to Mary Susan, sœur de Mary;∎ he's been like a father to me il est comme un père pour moi∎ to his way of thinking, to his mind à son avis;∎ to hear him talk, you'd think he was an expert à l'entendre parler, on croirait que c'est un expert;∎ to my knowledge, she never met him elle ne l'a jamais rencontré (pour) autant que je sache;∎ it's to your advantage to do it c'est (dans) ton intérêt de le faire;∎ the climate is not to my liking le climat ne me plaît pas;∎ add salt to taste salez selon votre goût ou à volonté;∎ she made out a cheque to the amount of £15 elle a fait un chèque de 15 livres(k) (indicating accompaniment, simultaneity)∎ we danced to live music nous avons dansé sur la musique d'un orchestre;∎ in time to the music en mesure avec la musique∎ let's drink to his health buvons à sa santé;∎ (here's) to your health! à la vôtre!;∎ (here's) to the bride! à la mariée!;∎ to my family (in dedication) à ma famille;∎ his book is dedicated to his mother son livre est dédié à sa mère;∎ a monument to the war dead un monument aux mortsE.∎ add flour to the list ajoutez de la farine sur la liste;∎ add 3 to 6 additionnez 3 et 6, ajoutez 3 à 6;∎ in addition to Charles, there were three women en plus de Charles, il y avait trois femmes∎ to the power… à la puissance…;∎ 2 to the 3rd power, 2 to the 3rd 2 (à la) puissance 32 adverb∎ the wind blew the door to un coup de vent a fermé la porte∎ to come to revenir à soi, reprendre connaissance∎ to bring a ship to mettre un bateau en panne∎ to go to and fro aller et venir, se promener de long en large; (shuttle bus etc) faire la navette;∎ to swing to and fro se balancer d'avant en arrière -
103 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 -
104 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
См. также в других словарях:
Knowledge Search — (Korean:지식검색) service is an information sharing tool launched in 2002 for Naver users. The tool allows users to ask just about any question, such as how to cook ramen or how to subscribe to international magazines via the Internet, and get… … Wikipedia
Love, Theological Virtue of — • The third and greatest of the Divine virtues enumerated by St. Paul (1 Cor., xiii, 13), usually called charity, defined: a divinely infused habit, inclining the human will to cherish God for his own sake above all things, and man for the sake… … Catholic encyclopedia
Love — Love (Theological Virtue) † Catholic Encyclopedia ► Love (Theological Virtue) The third and greatest of the Divine virtues enumerated by St. Paul (1 Cor., xiii, 13), usually called charity, defined: a divinely infused habit, inclining … Catholic encyclopedia
Love (Theological Virtue) — Love (Theological Virtue) † Catholic Encyclopedia ► Love (Theological Virtue) The third and greatest of the Divine virtues enumerated by St. Paul (1 Cor., xiii, 13), usually called charity, defined: a divinely infused habit, inclining … Catholic encyclopedia
Love's Comedy — is a play by Henrik Ibsen. It was first published in 1862 and caused outrage when first performed at the Christiania Theatre.The play is written in verse and the language is loaded with vivid imagery. Ibsen allows the characters arias full of… … Wikipedia
Knowledge Ecology International — (KEI) is a non governmental organization. It was founded by Ralph Nader in 1995 and was then called Consumer Project on Technology. It deals with issues related to the effects of intellectual property on public health, cyberlaw and e commerce,… … Wikipedia
Love's Cure — Love s Cure, or The Martial Maid is an early seventeenth century stage play, a comedy in the canon of John Fletcher and his collaborators. First published in the Beaumont and Fletcher folio of 1647, it is the subject of broad dispute and… … Wikipedia
Knowledge Ecology International — (KEI) est une organisation non gouvernementale (ONG) américaine, fondée par Ralph Nader en 1995 sous le nom de Consumer Project on Technology. KEI est dirigé aujourd hui par James Love. Active dans le secteur dit du public interest law, elle… … Wikipédia en Français
Love of God — Part of a series on God General conceptions … Wikipedia
Love That Boy — Infobox Film name = Love That Boy caption = director = Andrea Dorfman producer = Jan Nathanson writer = Jennifer Deyell Andrea Dorfman starring = Nadia Litz Adrien Dixon Nikki Barnett Ellen Page music = cinematography = editing = distributor =… … Wikipedia
Love Medicine — Infobox Book name = Love Medicine title orig = translator = image caption = author = Louise Erdrich illustrator = cover artist = country = United States language = English series = subject = Native Americans in the United States genre = Novel… … Wikipedia