Elizabeth River

см тж Hampton Roads Bridge-Tunnel; Thimble Shoal Channel; Chesapeake Channel; Downtown Tunnel, Norfolk, VA.

1) (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.)

3) (used to refer to unique objects etc, especially in titles and names: the Duke of Edinburgh; the Atlantic (Ocean).)

4) (used after a preposition with words referring to a unit of quantity, time etc: In this job we are paid by the hour.)

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.)

6) ((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.)

•

- the...

den

det

jo

determ. foran konsonant, ubetont: \/ħə\/, \/ħ\/, vokallyd, betont: \/ħɪ\/, i betydning 10: \/ħiː\/

1) ( svarer til bestemt form) -en (hankjønn), -a (hunkjønn), -et (intetkjønn), -ene (flertall)

• he studied the book carefully

• he watched the boys play

• I like the English

2) ( med bestemt form av substantiv) den, det, de

• can you see the old man?

• we live in the old house over there

• he looked at all the old houses

• listen to the following story

3) ( med substantivert adjektiv) den, det, de

• they held a service in memory of the deceased

• she likes to be among the beautiful

• she gave a gift to the blind

• which river is the deepest?

4) ( som eiendomspronomen) min

• she is the wife

• he is the boss

5) ( i of-setninger)

• she is the captain of a ship

• he chose the line of least resistance

• this is the London of our days

• this is a sketch of the nucleus of an atom

• the three of us went there

6) ( i retningsuttrykk)

• he looked to the left

• I have a room to the north

7) (the foran egennavn)

• he comes from the Balkans

• they live in the Caucasus

• she visited the Hague

• they are on board on the Queen Elizabeth

• they sailed down the Rhine

• there was a famine in the Sudan

• he likes the Beatles

8) en, et

• he bought a car to the amount of £2000

• I sell these coats at the price of 100 dollar

9) per

• they cost £10 the piece

10) ( emfatisk) den berømte, den virkelige, den kjente

• are you the Mary Lewis?

• he is the man

• he gave a reason but not the reason

• he is the surgeon here

• to him she was the woman

11) ( påpekende) den, det, de, maken til, for noe(n)

• the wretch!

• the stupidity

• the idiots!

adv. foraonsonantlyd: \/ħə\/ eller \/ħ\/, foran vokallyd: \/ħɪ\/

1) jo..., desto, jo..., jo

• the sooner you go to bed the better you will feel

2) desto

• he is taking more care of himself and looks the better

all the better desto bedre

none the wiser ikke (stort) klokere

the sooner the better jo før, jo bedre

* * *

[ɑ:ʳ, AM ɑ:r]

n no pl abbrev of Regina Regina

Elizabeth \R Elizabeth Regina

I. n no pl abbrev of Rex Rex

George \R George Rex

II. adj abbrev of Royal königl.

[AM ɑ:r]

n abbrev of river I. 1

adj abbrev of right re.

[AM ɑ:r]

adv AM FILM abbrev of Restricted

rated \R nicht für Jugendliche unter 16 Jahren, nicht jugendfrei

<pl - 's or -s>

[ɑ:ʳ, AM ɑ:r]

n r, R nt; see also A 1

* * *

* * *

R¹, r [ɑː(r)] pl R’s, Rs, r’s, rs [ɑː(r)z] s R, r n (Buchstabe):

the three Rs Lesen n, Schreiben n und Rechnen n (reading, [w]riting, [a]rithmetic)

R² abk

1. CHEM radical

2. ELEK resistance

3. roentgen (Maßeinheit der Strahlendosis)

4. (Schach) rook

5. Royal Kgl.

* * *

* * *

[ɑ:ʳ, AM ɑ:r]

n no pl abbrev of Regina Regina

Elizabeth \R Elizabeth Regina

I. n no pl abbrev of Rex Rex

George \R George Rex

II. adj abbrev of Royal königl.

[AM ɑ:r]

n abbrev of river I. 1

adj abbrev of right re.

[AM ɑ:r]

adv AM FILM abbrev of Restricted

rated \R nicht für Jugendliche unter 16 Jahren, nicht jugendfrei

<pl - 's or -s>

[ɑ:ʳ, AM ɑ:r]

n r, R nt; see also A 1

* * *

* * *

R, r [ɑː(r)] pl R’s, Rs, r’s, rs [ɑː(r)z] s R, r n (Buchstabe):

the three Rs Lesen n, Schreiben n und Rechnen n (reading, [w]riting, [a]rithmetic)

* * *

r, R

1. r, R <pl - 's or -s> [ɑ:ʳ, Am ɑ:r] n

r, R nt

2. r adv

abbrev of right re.

4. n

1) ( Queen) abbrev of Regina Regina;

Elizabeth \R Elizabeth Regina

2) ( King) abbrev of Rex Rex;

George \R George Rex

3) abbrev of river I. 1 adj

1) abbrev of right re.

2) abbrev of Royal königl.

5. R [ɑ:r] adv

(Am) film abbrev of Restricted:

rated \R nicht für Jugendliche unter 16 Jahren, nicht jugendfrei

r, R

1. r, R <pl - 's or -s> [ɑ:ʳ, Am ɑ:r] n

r, R nt

2. r adv

abbrev of right re.

4. n

1) ( Queen) abbrev of Regina Regina;

Elizabeth \r Elizabeth Regina

2) ( King) abbrev of Rex Rex;

George \r George Rex

3) abbrev of river I. 1 adj

1) abbrev of right re.

2) abbrev of Royal königl.

5. R [ɑ:r] adv

(Am) film abbrev of Restricted:

rated \r nicht für Jugendliche unter 16 Jahren, nicht jugendfrei

SUBJECT AREA: Ports and shipping

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McNeill was born in Clydebank just outside Glasgow, and was to serve that town for most of his life. After education at Clydebank High School and then at Allan Glen's in Glasgow, in 1908 he entered the shipyard of John Brown \& Co. Ltd as an apprentice. He was encouraged to matriculate at the University of Glasgow, where he studied naval architecture under the (then) unique Glasgow system of "sandwich" training, alternately spending six months in the shipyard, followed by winter at the Faculty of Engineering. On graduating in 1915, he joined the Army and by 1918 had risen to the rank of Major in the Royal Field Artillery.

After the First World War, McNeill returned to the shipyard and in 1928 was appointed Chief Naval Architect. In 1934 he was made a local director of the company. During the difficult period of the 1930s he was in charge of the technical work which led to the design, launching and successful completion of the great liners Queen Mary and Queen Elizabeth. Some of the most remarkable ships of the mid-twentieth century were to come from this shipyard, including the last British battleship, HMS Vanguard, and the Royal Yacht Britannia, completed in 1954. From 1948 until 1959, Sir James was Managing Director of the Clydebank part of the company and was Deputy Chairman by the time he retired in 1962. His public service was remarkable and included chairmanship of the Shipbuilding Conference and of the British Ship Research Association, and membership of the Committee of Lloyd's Register of Shipping.

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SUBJECT AREA: Textiles

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Jedediah Strutt was the second of three sons of William, a small farmer and maltster at South Normanton, near Alfreton, Derbyshire, where the only industry was a little framework knitting. At the age of 14 Jedediah was apprenticed to Ralph Massey, a wheelwright near Derby, and lodged with the Woollats, whose daughter Elizabeth he later married in 1755. He moved to Leicester and in 1754 started farming at Blackwell, where an uncle had died and left him the stock on his farm. It was here that he made his knitting invention.

William Lee's knitting machine remained in virtually the same form as he left it until the middle of the eighteenth century. The knitting industry moved away from London into the Midlands and in 1730 a Nottingham workman, using Indian spun yarn, produced the first pair of cotton hose ever made by mechanical means. This industry developed quickly and by 1750 was providing employment for 1,200 frameworkers using both wool and cotton in the Nottingham and Derby areas. It was against this background that Jedediah Strutt obtained patents for his Derby rib machine in 1758 and 1759.

The machine was a highly ingenious mechanism, which when placed in front of an ordinary stocking frame enabled the fashionable ribbed stockings to be made by machine instead of by hand. To develop this invention, he formed a partnership first with his brother-in-law, William Woollat, and two leading Derby hosiers, John Bloodworth and Thomas Stamford. This partnership was dissolved in 1762 and another was formed with Woollat and the Nottingham hosier Samuel Need. Strutt's invention was followed by a succession of innovations which enabled framework knitters to produce almost every kind of mesh on their machines. In 1764 the stocking frame was adapted to the making of eyelet holes, and this later lead to the production of lace. In 1767 velvet was made on these frames, and two years later brocade. In this way Strutt's original invention opened up a new era for knitting. Although all these later improvements were not his, he was able to make a fortune from his invention. In 1762 he was made a freeman of Nottingham, but by then he was living in Derby. His business at Derby was concerned mainly with silk hose and he had a silk mill there.

It was partly his need for cotton yarn and partly his wealth which led him into partnership with Richard Arkwright, John Smalley and David Thornley to exploit Arkwright's patent for spinning cotton by rollers. Together with Samuel Need, they financed the Arkwright partnership in 1770 to develop the horse-powered mill in Nottingham and then the water-powered mill at Cromford. Strutt gave advice to Arkwright about improving the machinery and helped to hold the partnership together when Arkwright fell out with his first partners. Strutt was also involved, in London, where he had a house, with the parliamentary proceedings over the passing of the Calico Act in 1774, which opened up the trade in British-manufactured all-cotton cloth.

In 1776 Strutt financed the construction of his own mill at Helper, about seven miles (11 km) further down the Derwent valley below Cromford. This was followed by another at Milford, a little lower on the river. Strutt was also a partner with Arkwright and others in the mill at Birkacre, near Chorley in Lancashire. The Strutt mills were developed into large complexes for cotton spinning and many experiments were later carried out in them, both in textile machinery and in fireproof construction for the mills themselves. They were also important training schools for engineers.

Elizabeth Strutt died in 1774 and Jedediah never married again. The family seem to have lived frugally in spite of their wealth, probably influenced by their Nonconformist background. He had built a house near the mills at Milford, but it was in his Derby house that Jedediah died in 1797. By the time of his death, his son William had long been involved with the business and became a more important cotton spinner than Jedediah.

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см тж American elm, Bay State, Chickadee, Ense petit placidam sub libertate quietem, Hail Massachusetts, mayflower, Old Colony State

см тж Garden State, Eastern Goldfinch, Purple Violet, Red Oak, Liberty and Prosperity

1896-1977

   La aparente ligereza de las peliculas de Howard Hawks es enganosa. Detras de unos filmes que, a primera vista, solo pretenden entretener al espectador, hay mucho mas; mas de lo que pueden ofrecer no pocos directores intelectualmente comprometidos. Por eso, hay que afirmar rotundamente que Howard Hawks es uno de los realizadores mas grandes del cine americano y del cine en general, a la altura de los diez o doce mas ilustres de todos los tiempos. La cosa empezo en el verano de 1916, cuando un joven estudiante de ingenieria, buen de portista, aficionado a los automoviles, decidio aprovechar las vacaciones de verano trabajando en Fa mous Players-Lasky, la futura Paramount, como ascensorista. Un ano despues, ya graduado, vuelve, ahora para colaborar en la produccion como decorador, montador, director de casting, ayudante de direccion y todo lo que fuera necesario hasta que, despues de algun nuevo parentesis, se consolida como guionista, lo que facilita su paso a la direccion, que tuvo lugar en 1926 con la produccion Fox The Road to Glory. De las ocho peliculas mudas que realizo, la mas “hawksiana” es, sin duda, Una novia en cada puerto (A Girl in Every Port, 1928), pero el director es, sin discusion, un hombre del sonoro, acaso por la esplendida utilizacion de los dialogos que lo caracterizo, y que se pone de manifiesto de forma extrema en La fiera de mi nina (Bringing Up Baby, 1938), una de las cumbres de la comedia. Todo aquello que toco Hawks, lo dignifico: la comedia, como se ha puesto de manifiesto, pero tambien el cine negro, con El sueno eterno (The Big Sleep, 1946), el filme de aventuras, con Hatari! (1962) y, desde luego, el western, genero en el que cada una de sus incursiones originaba una obra maestra. Rio Bravo es, sin ningun genero de dudas, una de las dos o tres mejores peliculas de un genero tan inagotable como la vida. Al parecer, el origen de la pelicula hay que encontrarlo en la irritacion que le producia a Hawks Solo ante el peligro (High Noon, Fred Zinnemann, 1952), cuyo metraje discurre en la tarea de encontrar ayuda para que el sheriff del lugar pueda enfrentarse a unos pistoleros que se encuentran camino de la ciudad. La idea motriz de Hawks, permanente a lo largo de toda su filmografia, de mostrar a personas (preferentemente hombres porque las mujeres son, sobre todo, causa de conflictos) que estan realizando su trabajo y lo realizan lo mejor que saben, es la historia de todos y cada uno de sus westerns, particularmente de su falsa coleccion de “rios”, formada por dos peliculas en lugar de cuatro, porque Rio Rojo es, en realidad, Red River, y en Rio de sangre ni siquiera aparece la palabra en el titulo original. Solo Rio Bravo y Rio Lobo, peliculas fronterizas donde las haya, responden a la idea que acuno el termino unificador para las cuatro peliculas. Estas dos ultimas, y la estupenda El Dorado, remake mas o menos encubierto de Rio Bravo, si que permanecen unidas por estrechos lazos cronologicos, estilisticos y tematicos.

   FILMOGRAFIA

    Viva Villa! (.Viva Villa!) (co-d.: Jack Conway). 1934. 115 minutos. Blanco y Negro. MGM. Wallace Beery, Fay Wray, Leo Carrillo.

    Barbary Coast (La ciudad sin ley). 1935. 91 minutos. Blanco y Negro. Goldwyn Productions (UA). Marian Hopkins, Edward G. Robinson, Joel McCrea, Walter Brennan.

    The Outlaw (co-d.: Howard Hughes). 1943. 123 minutos. Blanco y Negro. RKO. Jane Russell, Walter Huston.

    Red River (Rio Rojo). 1948. 125 minutos. Blanco y Negro. Monterrey (UA). John Wayne, Montgomery Clift, Walter Brennan, Joanne Dru, John Ireland.

    The Big Sky (Rio de sangre). 1952. 120 minutos. Blanco y Negro. Win chester Productions (RKO). Kirk Douglas, Dewey Martin, Elizabeth Threatt, Arthur Hunnicutt.

    Rio Bravo (Rio Bravo). 1959. 140 minutos. Technicolor. Armada Pro ductions (WB). John Wayne, Dean Martin, Angie Dickinson, Walter Brennan, Ricky Nelson, Ward Bond, Claude Akins.

    El Dorado (El Dorado). 1967. 122 minutos. Technicolor. Laurel (Paramount). John Wayne, Robert Mitchum, James Caan, Charlene Holt.

    Rio Lobo (Rio Lobo). 1970. 114 minutos. Technicolor. National General. John Wayne, Jorge Rivero, Chris Mitchum, Jennifer O’Neil.

go back vb volver

• remontar v.

v + adv

1)

a) ( return) volver*

b) (in lecture, text) volver*

c) ( be returned)

2)

a) (date, originate) \<\<tradition/dynasty\>\> remontarse

b) (return in time, revert) volver*

c) \<\<clocks\>\> atrasarse

VI + ADV

1) (=return) volver, regresar (to a)

2) (=retreat) volverse atrás

3) (=extend) extenderse

4) (=date back) remontarse

5) (=change)

* * *

v + adv

1)

a) ( return) volver*

b) (in lecture, text) volver*

c) ( be returned)

2)

a) (date, originate) \<\<tradition/dynasty\>\> remontarse

b) (return in time, revert) volver*

c) \<\<clocks\>\> atrasarse

1) (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.) el, la

3) (used to refer to unique objects etc, especially in titles and names: the Duke of Edinburgh; the Atlantic (Ocean).) el, la

4) (used after a preposition with words referring to a unit of quantity, time etc: In this job we are paid by the hour.) el, la, los, las

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.) el, la, los, las

6) ((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.) mucho

•

- the...

the det el / la

tr[ðə] (Delante de una vocal se pronuncia tr[ðɪ]; con enfasis tr[ðiː])

definite article

1 el, la (plural) los, las

■ the sun is shining el sol brilla

■ the moon is full la luna está llena

■ we went to the cinema fuimos al cine

■ he's from the next village es del pueblo al lado

■ the Queen of England la Reina de Inglaterra

■ the river Thames el río Támesis

■ he's the richest man in the world es el hombre más rico del mundo

■ the English are not famous for their cooking los ingleses no tienen fama por su cocina

■ the Browns are very friendly los Brown son muy amables

■ Elizabeth the Second Isabel segunda

2 (per) por

■ we are paid by the hour nos pagan por horas

3 (emphasis) el, la, los, las

■ you're not the Paul Newman, are you? no serás el auténtico Paul Newman, ¿verdad?

adverb

1 (with comparatives)

■ the more you have, the more you want cuanto más se tiene, más se quiere

■ the sooner the better cuanto antes mejor

■ the less said, the better cuanto menos digas, mejor

■ the more the merrier cuantos más seamos, más nos divertiremos

the [ðə,] before vowel sounds usu [ði:] adv

1) (used to indicate comparison)

the sooner the better: cuanto más pronto, mejor

she likes this one the best: éste es el que más le gusta

2) (used as a conjunction) : cuanto

the more I learn, the less I understand: cuanto más aprendo, menos entiendo

the art

: el, la, los, las

the gloves: los guantes

the suitcase: la maleta

forty cookies to the box: cuarenta galletas por caja

the (Catholic) church

• Roma s.f.

• cuánto adv.

• el art.

• la art.

• las art.

• lo art.

• los art.

• la art.def.

1) (sing) el, la; (pl) los, las

2) (emphatic use)

3)

a) ( with names)

b) (in abstractions, generalizations) (+ sing vb)

4) ( per) por

5) ( used instead of possessive pron) (colloq) (sing) el, la; (pl) los, las

adverb (+ comp)

a) (as conj) cuanto

b) (in comparisons)

1. DEF ART

1) (singular) el/la; (plural) los/las

2) (+ adjective)

a) (denoting plural) los(-las)

b) (denoting sing) lo

3) (+ noun) (denoting whole class) el(-la)

4) (+ comparative) el(-la)

5) (distributive)

6) (emphatic)

7) (in titles)

* * *

1) (sing) el, la; (pl) los, las

2) (emphatic use)

3)

a) ( with names)

b) (in abstractions, generalizations) (+ sing vb)

4) ( per) por

5) ( used instead of possessive pron) (colloq) (sing) el, la; (pl) los, las

adverb (+ comp)

a) (as conj) cuanto

b) (in comparisons)