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1 fantasy
nounFantasie, die; (mental image) Fantasiegebilde, das* * *['fæntəsi]plural - fantasies; noun(an imaginary (especially not realistic) scene, story etc: He was always having fantasies about becoming rich and famous; ( also adjective) He lived in a fantasy world.) die Phantasie, Phantasie-..., auch Fantasy als Genre- academic.ru/26430/fantastic">fantastic- fantastically* * *fan·ta·sy[ˈfæntəsi, AM -t̬-]nsexual \fantasy sexuelle Fantasie[n] f[pl]a world of \fantasy eine Traumweltit's a product of your \fantasy es ist ein Produkt Ihrer Fantasie* * *['fntəsɪ]n1) (= imagination) Fantasie f, Phantasie fthat's pure fantasy or a fantasy — das ist reine Fantasie or bloß ein Hirngespinst
3) (MUS, LITER) Fantasie f* * *fantasy [ˈfæntəsı; -zı]A s1. Fantasie f:a) Einbildungskraft fb) Fantasiegebilde n, -vorstellung f:live in a world of fantasy in einer Fantasiewelt lebenc) Tag-, Wachtraum m, Hirngespinst n2. (das) Fantasieren* * *nounFantasie, die; (mental image) Fantasiegebilde, das* * *n.Phantasie -n f. -
2 fantasy
fan·ta·sy [ʼfæntəsi, Am -t̬-] nSteve's favourite \fantasy was that... Steve träumte am liebsten davon,...;sexual \fantasy sexuelle Fantasie[n] f[pl];a world of \fantasy eine Traumweltit's a product of your \fantasy es ist ein Produkt Ihrer Fantasie -
3 strain
strain [streɪn]1 noun∎ the rope snapped under the strain la corde a rompu sous la tension;∎ the weight put too much strain on the rope le poids a exercé une trop forte tension sur la corde;∎ to collapse under the strain (bridge, animal) s'effondrer sous le poids;∎ I took most of the strain c'est moi qui ai fourni le plus gros effort;∎ the buttress takes the strain off the wall le contrefort réduit la pression qui s'exerce sur le mur;∎ the girder can't take the strain la poutre ne peut pas supporter cette pression;∎ figurative the war is putting a great strain on the country's resources la guerre grève sérieusement les ressources du pays;∎ the new taxes take the strain off the budget les nouveaux impôts renflouent le budget(b) (mental or physical effort) (grand) effort m; (overwork) surmenage m; (tiredness) (grande) fatigue f; (stress) stress m, tension f ou fatigue f nerveuse;∎ he's beginning to feel/show the strain il commence à sentir la fatigue/à donner des signes de fatigue;∎ I've been under great physical strain je me suis surmené;∎ it was quite a strain for me to have to stand j'ai trouvé très fatigant de devoir rester debout;∎ the strain of making polite conversation l'effort que ça demande de faire la conversation à quelqu'un;∎ the situation has put our family under a great deal of strain la situation a mis notre famille à rude épreuve;∎ recent events have placed considerable strain on their relationship les événements récents ont mis leur relation à rude épreuve;∎ he can't take the strain anymore il ne peut plus supporter cette situation stressante;∎ it's a terrible strain on her nerves ses nerfs sont mis à rude épreuve;∎ they've been under a lot of strain recently leurs nerfs ont été mis à rude épreuve ces derniers temps;∎ the arrival of a new secretary took the immediate strain off me avec l'arrivée d'une nouvelle secrétaire, j'ai été immédiatement soulagée d'une partie de mon travail;∎ I couldn't stand the strain of commuting je trouvais trop épuisant de prendre les transports en commun tous les matins∎ to give one's back a strain se donner un tour de reins(d) (breed, variety → of animal, insect) race f; (→ of virus, bacteria) souche f; (→ of plant, grain) variété f∎ his other books are all very much in the same strain ses autres livres sont tout à fait dans le même genre ou dans le même style ou dans le même esprit(f) (streak, tendency) fond m, tendance f;∎ there is a strain of madness in the family il y a une prédisposition à la folie dans la famille;∎ there's a strong strain of fantasy in his novels il y a une grande part de rêve dans ses romans(a) (rope, cable, girder) tendre (fortement); figurative (resources, economy, budget) grever; (patience) mettre à l'épreuve, abuser de; (friendship, relationship) mettre à l'épreuve, mettre à rude épreuve;∎ he strained the canvas over the frame il a tendu la toile sur le cadre;∎ to be strained to breaking point être tendu au point de se rompre;∎ this new expense is straining our income to the limit nos revenus nous permettent tout juste cette dépense supplémentaire(b) (force → voice) forcer;∎ he strained his ears to hear what they were saying il tendit l'oreille pour entendre ce qu'ils disaient;∎ to strain one's eyes to see sth plisser les yeux pour mieux voir qch;∎ to strain every nerve or sinew to do sth s'efforcer de faire qch(c) (hurt, damage → eyes) fatiguer;∎ reading small print strains your eyes ça fatigue les yeux de lire des petits caractères;∎ you'll strain your eyes tu vas te fatiguer les yeux;∎ to strain a muscle se froisser un muscle;∎ I have to be careful not to strain my heart il faut que je veille à ménager mon cœur;∎ to strain one's back se donner un tour de reins;∎ I've strained my arm je me suis froissé un muscle du bras;∎ mind you don't strain yourself lifting that typewriter attention de ne pas te faire mal en soulevant cette machine à écrire;∎ ironic don't strain yourself! surtout ne te fatigue pas!;∎ she lent a hand, but she didn't exactly strain herself elle a mis la main à la pâte, mais elle ne s'est pas vraiment fatiguée∎ it would be straining the truth to call the play a masterpiece dire que cette pièce est un chef-d'œuvre serait exagéré∎ she strained the child to her breast elle serra l'enfant contre sa poitrine∎ she was straining at the door (pulling) elle tirait sur la porte de toutes ses forces; (pushing) elle poussait (sur) la porte de toutes ses forces;∎ to strain at a rope/at the oars tirer sur une corde/sur les rames;∎ the dog strained at the leash le chien tirait sur sa laisse;∎ figurative to be straining at the leash piaffer d'impatience;∎ I had to strain against the wind j'ai dû lutter contre le vent;∎ she strained under the weight elle ployait sous la charge∎ to strain to do sth s'efforcer de faire qch;∎ I strained to understand/hear what they were saying je me suis efforcé de comprendre/d'entendre ce qu'ils disaient;∎ he tends to strain after effect il a tendance à vouloir se faire remarquer(c) (be under tension → rope, cable) se tendre; (→ beam) fatiguer, travailler; (become deformed) gauchir, se fausser∎ to strain at sth (be unwilling) se faire un scrupule de qch;∎ to strain at doing sth avoir des scrupules à faire qch(of music) accents mpl, accords mpl;∎ the crowd rose to the strains of the national anthem le public s'est levé aux accents de l'hymne national(liquid) vider, égoutter -
4 dream
(a) (in sleep) rêver;∎ to dream of or about sb/sth rêver de qn/qch;∎ it can't be true, I must be dreaming ce n'est pas vrai, je rêve(b) (daydream) rêvasser, rêver;∎ he's always dreaming il est toujours dans la lune;∎ stop dreaming and get on with your work! arrête de rêver ou de rêvasser et remets-toi au travail!;∎ for years she'd dreamt of having a cottage in the country elle rêvait depuis des années d'avoir un cottage à la campagne;∎ I know it'll never happen but there's nothing to stop me dreaming! je sais que ça n'arrivera jamais, mais je ne peux pas m'empêcher de rêver!;∎ familiar dream on! tu peux toujours rêver!∎ to dream of doing sth songer à faire qch;∎ nobody dreamt of suspecting her personne n'a songé à ou il n'est venu à l'idée de personne de la soupçonner;∎ I never dreamt you would take me seriously je n'aurais jamais pensé que tu me prendrais au sérieux;∎ don't tell anyone - I wouldn't dream of it! ne le dis à personne - jamais je ne songerais à faire une chose pareille!;∎ she'd never dream of complaining jamais elle ne songerait à se plaindre(a) (in sleep) rêver;∎ he dreamt a dream il a fait un rêve;∎ she dreamt we were in Spain elle a rêvé que nous étions en Espagne;∎ you must have dreamt it vous avez dû le rêver(b) (daydream) rêvasser;∎ to dream idle dreams se nourrir d'illusions, rêver creux∎ I never dreamt that he would actually accept the offer! j'étais à mille lieues de supposer qu'il accepterait effectivement la proposition!3 noun(a) (during sleep) rêve m;∎ to have a dream faire un rêve;∎ to have a dream about sb/sth rêver de qn/qch;∎ to see sth in a dream voir qch en rêve;∎ the child had a bad dream l'enfant a fait un mauvais rêve ou un cauchemar;∎ the meeting was like a bad dream la réunion était un cauchemar;∎ sweet dreams! faites de beaux rêves!;∎ literary life is but a dream la vie n'est qu'un songe;∎ Australian in the dream time (of native people) au temps où l'homme n'était pas encore arrivé sur la terre; familiar figurative il y a des siècles(b) (wish, fantasy) rêve m, désir m;∎ the woman of his dreams la femme de ses rêves;∎ her dream was to become a pilot elle rêvait de devenir pilote;∎ a job beyond my wildest dreams un travail comme je n'ai jamais osé imaginer ou qui dépasse tous mes rêves;∎ even in her wildest dreams she never thought she'd win first prize même dans ses rêves les plus fous, elle n'avait jamais pensé remporter le premier prix;∎ the American dream le rêve américain;∎ may all your dreams come true que tous vos rêves se réalisent;∎ the holiday was like a dream come true les vacances étaient comme un rêve devenu réalité;∎ this boat is a sailor's dream come true ce bateau est la matérialisation du rêve d'un marin;∎ familiar in your dreams! tu peux toujours rêver!∎ it's a dream come true c'est un rêve devenu réalité, mon/son/ etc rêve s'est réalisé;∎ it worked like a dream cela a réussi à merveille;∎ my interview went like a dream mon entretien s'est passé à merveille;∎ this car goes like a dream cette voiture marche à merveille;∎ familiar a dream of a house une maison de rêve□ ;∎ familiar she's a real dream c'est un amour, elle est vraiment adorable□(d) (daydream) rêverie f, rêve m;∎ he's always in a dream il est toujours dans les nuages ou en train de rêver(car, person, house) de rêve►► Cinema dream sequence séquence f onirique;Politics the dream ticket (policies) le programme utopique ou à faire rêver; (candidates) le couple idéal;∎ she lives in a dream world elle vit dans les nuagespasser ou perdre en rêveries;∎ she would dream away the hours watching the clouds float by elle passait des heures à rêver en regardant passer les nuagesimaginer, inventer, concocter;∎ some wonderful new scheme that the government has dreamt up encore un de ces merveilleux projets concoctés par le gouvernement;∎ where did you dream that up? où es-tu allé pêcher ça?ⓘ I have a dream Cette célèbre formule est extraite d'un discours que prononça Martin Luther King à Washington au cours d'un rassemblement du mouvement pour les droits civiques en 1963. Dans son discours il parlait de l'Amérique dont il rêvait, où tous les citoyens seraient égaux et vivraient ensemble dans l'harmonie. Aujourd'hui on utilise cette phrase pour parler de tout projet, toute idée nouvelle qui nous tient particulièrement à coeur. On pourra dire par exemple I have a dream that one day everyone will have access to a computer ("je rêve qu'un jour chacun puisse avoir accès à un ordinateur"). -
5 humour
1 noun(a) (wit, fun) humour m;∎ the play is devoid of humour la pièce est dénuée ou dépourvue d'humour;∎ the humour of the situation le côté comique de la situation;∎ sense of humour sens m de l'humour;∎ I like her sense of humour j'aime son sens de l'humour;∎ he's got no sense of humour il n'a aucun sens de l'humour;∎ he has a very dry sense of humour il est très pince-sans-rire∎ in a good/bad humour de bonne/mauvaise humeur;∎ he's in no humour to talk to anybody il n'est pas d'humeur à parler à qui que ce soit;∎ literary to be out of humour être de mauvaise humeur∎ the four humours les quatre humeurs fpl(person → indulge, gratify) faire plaisir à; (→ treat tactfully) ménager; (whim, fantasy) se prêter à;∎ don't try to humour me n'essaie pas de m'amadouer -
6 refuge
refuge ['refju:dʒ](a) (shelter → gen) refuge m, abri m; (→ in mountains) refuge m; British (→ for crossing road) refuge m;∎ women's refuge foyer m pour femmes battues(b) (protection → from weather)∎ to take refuge from the rain s'abriter de la pluie;∎ she took refuge in the tent elle s'est réfugiée sous la tente;∎ to seek refuge (from attack, reality) chercher refuge;∎ he sought refuge from his persecutors il chercha un asile pour échapper à ses persécuteurs;∎ to seek refuge in drugs chercher refuge dans la drogue;∎ to take refuge in fantasy se réfugier dans l'imagination;∎ literary God is my refuge Dieu est mon refuge -
7 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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