Перевод: с английского на все языки

со всех языков на английский

a+well-known+truth

  • 101 come out

    1) (to become known: The truth finally came out.) paaiškėti
    2) (to be published: This newspaper comes out once a week.) išeiti
    3) (to strike: The men have come out (on strike).) sustreikuoti
    4) ((of a photograph) to be developed: This photograph has come out very well.) išeiti
    5) (to be removed: This dirty mark won't come out.) iš(si)imti

    English-Lithuanian dictionary > come out

  • 102 come out

    komma ut; komma fram; bli synlig; försvinna, utplånas
    * * *
    1) (to become known: The truth finally came out.) komma fram
    2) (to be published: This newspaper comes out once a week.) komma ut
    3) (to strike: The men have come out (on strike).) gå ut
    4) ((of a photograph) to be developed: This photograph has come out very well.) bli bra (lyckad)
    5) (to be removed: This dirty mark won't come out.) gå bort (ur)

    English-Swedish dictionary > come out

  • 103 come out

    vi
    1) ( go outside) herauskommen;
    ( go out socially) ausgehen;
    can Zoe \come out out to play? kommt Zoe raus zum Spielen?;
    the police watched him \come out out of the house die Polizei beobachtete ihn, wie er das Haus verließ;
    to \come out out of prison aus dem Gefängnis kommen
    2) ( be released) book, magazine herauskommen;
    ( onto the market) auf den Markt kommen; results bekannt gegeben werden; film anlaufen
    3) ( become known) news bekannt werden, herauskommen
    4) ( end up) herauskommen ( fam)
    my cooking always \come outs out a mess was ich auch koche, es schmeckt immer schrecklich;
    these figures have \come out out wrong diese Zahlen haben sich als falsch herausgestellt;
    your painting has \come out out really well Ihr Gemälde ist wirklich gut geworden;
    she came out of the divorce settlement a rich woman sie ging aus der Scheidung als reiche Frau hervor
    5) phot [gut] herauskommen;
    damn, the photo hasn't \come out out Mist, das Foto ist nichts geworden! ( fam)
    to \come out out in favour of/ against sth sich akk für/gegen etw akk aussprechen
    7) ( tell)
    to \come out out with sth truth, facts mit etw dat herausrücken ( fam)
    to \come out out with good ideas gute Ideen vorbringen;
    to \come out out with a remark eine Bemerkung loslassen ( fam)
    8) ( result)
    a lot of good films came out of that period aus dieser Zeit stammen viele gute Filme;
    a lot of inventions came out of his tireless research sein unermüdliches Forschen führte zu vielen Erfindungen
    9) ( appear) sun, buds, flowers herauskommen, rauskommen ( fam) stars zu sehen sein
    to \come out out top [or best] / the winner Beste(r)/Sieger(in) werden
    11) ( Brit) ( strike)
    to \come out [on strike] in Streik treten
    12) ( reveal homosexuality) sich akk outen (sl)
    to \come out out to sb sich akk jdm gegenüber outen;
    to \come out out about sth alcoholism, mental illness, AIDS, homosexuality etw bekannt geben
    13) ( remove itself) tooth herausfallen;
    can you get this cork to \come out out of the bottle? bekommst du den Korken aus der Flasche heraus?
    14) ( fade) stain, mark, colour herausgehen ( fam)
    15) ( break out) ausbrechen;
    to \come out out in a rash/ spots einen Ausschlag/Pickel bekommen
    16) ( resolve) riddle sich lösen lassen math; problems aufgehen
    17) ( Brit) (dated: make debut) debütieren
    18) ( seem)
    I didn't mean to be rude - it just came out that way ich wollte nicht unhöflich sein - es klang nur so
    PHRASES:
    it will all \come out out in the wash;
    (prov: be revealed) am Ende wird alles rauskommen;
    ( be all right) am Ende wird schon alles gut gehen

    English-German students dictionary > come out

  • 104 might

    1. might [maɪt] pt of → may aux vb
    that old bridge \might be dangerous die alte Brücke könnte gefährlich sein;
    I \might go to the cinema tonight vielleicht gehe ich heute Abend ins Kino;
    someone phoned at six, it \might have been him um sechs rief jemand an, das könnte er gewesen sein;
    he is closing his door so that he \might have a little peace and quiet er schließt seine Tür, damit er etwas Ruhe hat;
    let's not answer the phone so that we \might talk undisturbed lass uns nicht ans Telefon gehen, damit wir ungestört reden können;
    if he keeps studying so hard he \might even get a first in his final exams wenn er weiterhin so eifrig lernt, könnte er sogar der Beste bei den Abschlussprüfungen werden
    the village \might be in the middle of nowhere but I like such places das Dorf kann ruhig mitten im Nirgendwo sein, ich mag solche Orte;
    Leeds \might be an excellent team, but... Leeds mag eine hervorragende Mannschaft sein, aber...
    \might I...? dürfte ich [vielleicht]...?;
    \might I ask a question? dürfte ich eine Frage stellen?;
    how \might I help you? wie kann ich Ihnen behilflich sein?;
    \might I ask what you think you're doing in my seat? könnten Sie mir vielleicht sagen, was sie auf meinem Sitz zu suchen haben?;
    and who \might you be? und was glaubst du wohl, wer du bist?
    \might I [or ( form) one] make a suggestion? dürfte ich vielleicht einen Vorschlag machen?;
    I thought you \might like to join me for dinner ich dachte, du hättest vielleicht Lust, mit mir zu Abend zu essen;
    she \might as well tell the truth - they'll find it out anyway sie könnte ebenso gut die Wahrheit sagen - sie werden es ohnehin herausfinden
    you \might have at least made an effort du hättest zumindest einen Versuch machen können;
    you \might have told me about the job! du hättest mir eigentlich von dem Job erzählen müssen!;
    I \might have known that you'd lie to me ich hätte es eigentlich wissen müssen, dass du mich anlügen würdest
    2. might [maɪt] n
    1) ( authority) Macht f
    2) ( strength) Kraft f; mil Stärke f;
    with \might and main aus Leibeskräften;
    with all one's \might mit aller Kraft
    PHRASES:
    \might is right ( saying) Macht geht vor Recht

    English-German students dictionary > might

  • 105 come out

    1) (to become known: The truth finally came out.) vyjít najevo
    2) (to be published: This newspaper comes out once a week.) vycházet
    3) (to strike: The men have come out (on strike).) vstoupit (do stávky)
    4) ((of a photograph) to be developed: This photograph has come out very well.) vyjít
    5) (to be removed: This dirty mark won't come out.) zmizet
    * * *
    • vycházet
    • vyjíždět
    • vynořit se
    • vyjít najevo
    • vyvstat
    • vyjít
    • vyjet
    • být publikován

    English-Czech dictionary > come out

  • 106 come out

    1) (to become known: The truth finally came out.) vyjsť najavo
    2) (to be published: This newspaper comes out once a week.) vychádzať
    3) (to strike: The men have come out (on strike).) štrajkovať
    4) ((of a photograph) to be developed: This photograph has come out very well.) vyjsť
    5) (to be removed: This dirty mark won't come out.) vyjsť
    * * *
    • vypadávat
    • vychádzat
    • vyjst

    English-Slovak dictionary > come out

  • 107 _слово; сила слова

    actions speak louder than words better ask, than go astray better the foot slip than the tongue better one word in time than two afterwards brevity is the soul of wit by work you get money, by talk you get knowledge easier said than done empty vessels make the greatest sound fine words butter no parsnips fine words dress ill deeds first think, then speak a flow of words is no proof of wisdom a fool is known by his conversation a good tongue is a good weapon a good word costs no more than a bad one great barkers are no biters great cry and little wool a great talker may be no fool, but he is one that relies on him great talkers are like broken pitchers: everything runs out of them great talkers are little doers hard words break no bones he that talks much errs much he that talks much lies much he who says little may be a fool or a genius he who says what he likes shall hear what he does not like hear much, speak little hold your tongue an honest man's word is as good as his bond if your swear you will catch no fish immodest words are in all cases indefensible it is not with saying "honey, honey" that sweetness comes into the mouth a kind word goes a long way least said, soonest mended let not your tongue cut your throat a man never becomes an orator if he has anything to say a man of words and not of deeds is like a garden full of weeds many speak much who cannot speak well many a truth is spoken is jest more have repented speech than silence much ado about nothing never answer a question until it is asked no sooner said than done one tongue is enough for two women out of the fullness of the heart the mouth speaks pleasant words are valued but do not cost much the pen is mightier than the sword pigs grunt about everything and nothing say little but think more say little; write less; print least silly question, silly answer speak of angels and they flap their wings speak when you are spoken to; come when you are called speech is silver(n), silence is golden speech is the gift of all but the thought of few speech was given a man to conceal his thoughts a still tongue makes a wise head ten measures of talk were sent down from heaven, and women took nine it is not every question that deserves an answer the tongue always returns to the sore tooth the tongue is not steel but it cuts the tongue is the only tool that grows sharper with use an unkind word is better left unspoken what is writ is writ a woman fights with her tongue a woman's hair is long, but her tongue is longer a word before is worth two behind a word spoken is past recalling a word to the wise is sufficient words and deeds are not weighed in the same balance words are but wind words are the wise man's counters and the fool's money words cut more than swords words pay no debts the worst wheel of the cart makes the most noise wounds made by words are hard to heal you are master of the unspoken word; the spoken word is master of you

    English-Ukrainian dictionary of proverbs > _слово; сила слова

  • 108 come out

    1) (to become known: The truth finally came out.) a ieşi la iveală
    2) (to be published: This newspaper comes out once a week.) a apărea
    3) (to strike: The men have come out (on strike).) a face grevă
    4) ((of a photograph) to be developed: This photograph has come out very well.) a ieşi (bine sau rău)
    5) (to be removed: This dirty mark won't come out.) a ieşi

    English-Romanian dictionary > come out

  • 109 come out

    1. to go out; 2. to be published (about a book); 3. to become known (about information, facts, secrets); 4. to result, to end in some way 1. выйти (из какого-то места); 2. выйти (о книге); 3. стать известным (об информации, фактах, секретах); 4. закончиться каким-то результатом

    1. The door opened and Jim came out. 2. His new book came out last month. 3. The truth will come out one day. 4. I was serious, but my words came out as a joke. His plan didn’t come out well.

    English-Russian mini useful dictionary > come out

  • 110 come out

    1) (to become known: The truth finally came out.) μαθεύομαι, αποκαλύπτομαι
    2) (to be published: This newspaper comes out once a week.) κυκλοφορώ
    3) (to strike: The men have come out (on strike).) κατεβαίνω σε απεργία
    4) ((of a photograph) to be developed: This photograph has come out very well.) `βγαίνω`, εμφανίζομαι
    5) (to be removed: This dirty mark won't come out.) βγαίνω

    English-Greek dictionary > come out

  • 111 come out

    1) (to become known: The truth finally came out.) être révélé
    2) (to be published: This newspaper comes out once a week.) paraître
    3) (to strike: The men have come out (on strike).) débrayer
    4) ((of a photograph) to be developed: This photograph has come out very well.) venir (bien ou mal)
    5) (to be removed: This dirty mark won't come out.) partir

    English-French dictionary > come out

  • 112 come out

    1) (to become known: The truth finally came out.) revelar-se
    2) (to be published: This newspaper comes out once a week.) sair
    3) (to strike: The men have come out (on strike).) fazer greve
    4) ((of a photograph) to be developed: This photograph has come out very well.) sair
    5) (to be removed: This dirty mark won't come out.) sair

    English-Portuguese (Brazil) dictionary > come out

  • 113 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 Disorder
       Even 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

  • 114 Language

       Philosophy is written in that great book, the universe, which is always open, right before our eyes. But one cannot understand this book without first learning to understand the language and to know the characters in which it is written. It is written in the language of mathematics, and the characters are triangles, circles, and other figures. Without these, one cannot understand a single word of it, and just wanders in a dark labyrinth. (Galileo, 1990, p. 232)
       It never happens that it [a nonhuman animal] arranges its speech in various ways in order to reply appropriately to everything that may be said in its presence, as even the lowest type of man can do. (Descartes, 1970a, p. 116)
       It is a very remarkable fact that there are none so depraved and stupid, without even excepting idiots, that they cannot arrange different words together, forming of them a statement by which they make known their thoughts; while, on the other hand, there is no other animal, however perfect and fortunately circumstanced it may be, which can do the same. (Descartes, 1967, p. 116)
       Human beings do not live in the object world alone, nor alone in the world of social activity as ordinarily understood, but are very much at the mercy of the particular language which has become the medium of expression for their society. It is quite an illusion to imagine that one adjusts to reality essentially without the use of language and that language is merely an incidental means of solving specific problems of communication or reflection. The fact of the matter is that the "real world" is to a large extent unconsciously built on the language habits of the group.... We see and hear and otherwise experience very largely as we do because the language habits of our community predispose certain choices of interpretation. (Sapir, 1921, p. 75)
       It powerfully conditions all our thinking about social problems and processes.... No two languages are ever sufficiently similar to be considered as representing the same social reality. The worlds in which different societies live are distinct worlds, not merely the same worlds with different labels attached. (Sapir, 1985, p. 162)
       [A list of language games, not meant to be exhaustive:]
       Giving orders, and obeying them- Describing the appearance of an object, or giving its measurements- Constructing an object from a description (a drawing)Reporting an eventSpeculating about an eventForming and testing a hypothesisPresenting the results of an experiment in tables and diagramsMaking up a story; and reading itPlay actingSinging catchesGuessing riddlesMaking a joke; and telling it
       Solving a problem in practical arithmeticTranslating from one language into another
       LANGUAGE Asking, thanking, cursing, greeting, and praying-. (Wittgenstein, 1953, Pt. I, No. 23, pp. 11 e-12 e)
       We dissect nature along lines laid down by our native languages.... The world is presented in a kaleidoscopic flux of impressions which has to be organized by our minds-and this means largely by the linguistic systems in our minds.... No individual is free to describe nature with absolute impartiality but is constrained to certain modes of interpretation even while he thinks himself most free. (Whorf, 1956, pp. 153, 213-214)
       We dissect nature along the lines laid down by our native languages.
       The categories and types that we isolate from the world of phenomena we do not find there because they stare every observer in the face; on the contrary, the world is presented in a kaleidoscopic flux of impressions which has to be organized by our minds-and this means largely by the linguistic systems in our minds.... We are thus introduced to a new principle of relativity, which holds that all observers are not led by the same physical evidence to the same picture of the universe, unless their linguistic backgrounds are similar or can in some way be calibrated. (Whorf, 1956, pp. 213-214)
       9) The Forms of a Person's Thoughts Are Controlled by Unperceived Patterns of His Own Language
       The forms of a person's thoughts are controlled by inexorable laws of pattern of which he is unconscious. These patterns are the unperceived intricate systematizations of his own language-shown readily enough by a candid comparison and contrast with other languages, especially those of a different linguistic family. (Whorf, 1956, p. 252)
       It has come to be commonly held that many utterances which look like statements are either not intended at all, or only intended in part, to record or impart straightforward information about the facts.... Many traditional philosophical perplexities have arisen through a mistake-the mistake of taking as straightforward statements of fact utterances which are either (in interesting non-grammatical ways) nonsensical or else intended as something quite different. (Austin, 1962, pp. 2-3)
       In general, one might define a complex of semantic components connected by logical constants as a concept. The dictionary of a language is then a system of concepts in which a phonological form and certain syntactic and morphological characteristics are assigned to each concept. This system of concepts is structured by several types of relations. It is supplemented, furthermore, by redundancy or implicational rules..., representing general properties of the whole system of concepts.... At least a relevant part of these general rules is not bound to particular languages, but represents presumably universal structures of natural languages. They are not learned, but are rather a part of the human ability to acquire an arbitrary natural language. (Bierwisch, 1970, pp. 171-172)
       In studying the evolution of mind, we cannot guess to what extent there are physically possible alternatives to, say, transformational generative grammar, for an organism meeting certain other physical conditions characteristic of humans. Conceivably, there are none-or very few-in which case talk about evolution of the language capacity is beside the point. (Chomsky, 1972, p. 98)
       [It is] truth value rather than syntactic well-formedness that chiefly governs explicit verbal reinforcement by parents-which renders mildly paradoxical the fact that the usual product of such a training schedule is an adult whose speech is highly grammatical but not notably truthful. (R. O. Brown, 1973, p. 330)
       he conceptual base is responsible for formally representing the concepts underlying an utterance.... A given word in a language may or may not have one or more concepts underlying it.... On the sentential level, the utterances of a given language are encoded within a syntactic structure of that language. The basic construction of the sentential level is the sentence.
       The next highest level... is the conceptual level. We call the basic construction of this level the conceptualization. A conceptualization consists of concepts and certain relations among those concepts. We can consider that both levels exist at the same point in time and that for any unit on one level, some corresponding realizate exists on the other level. This realizate may be null or extremely complex.... Conceptualizations may relate to other conceptualizations by nesting or other specified relationships. (Schank, 1973, pp. 191-192)
       The mathematics of multi-dimensional interactive spaces and lattices, the projection of "computer behavior" on to possible models of cerebral functions, the theoretical and mechanical investigation of artificial intelligence, are producing a stream of sophisticated, often suggestive ideas.
       But it is, I believe, fair to say that nothing put forward until now in either theoretic design or mechanical mimicry comes even remotely in reach of the most rudimentary linguistic realities. (Steiner, 1975, p. 284)
       The step from the simple tool to the master tool, a tool to make tools (what we would now call a machine tool), seems to me indeed to parallel the final step to human language, which I call reconstitution. It expresses in a practical and social context the same understanding of hierarchy, and shows the same analysis by function as a basis for synthesis. (Bronowski, 1977, pp. 127-128)
        t is the language donn eґ in which we conduct our lives.... We have no other. And the danger is that formal linguistic models, in their loosely argued analogy with the axiomatic structure of the mathematical sciences, may block perception.... It is quite conceivable that, in language, continuous induction from simple, elemental units to more complex, realistic forms is not justified. The extent and formal "undecidability" of context-and every linguistic particle above the level of the phoneme is context-bound-may make it impossible, except in the most abstract, meta-linguistic sense, to pass from "pro-verbs," "kernals," or "deep deep structures" to actual speech. (Steiner, 1975, pp. 111-113)
       A higher-level formal language is an abstract machine. (Weizenbaum, 1976, p. 113)
       Jakobson sees metaphor and metonymy as the characteristic modes of binarily opposed polarities which between them underpin the two-fold process of selection and combination by which linguistic signs are formed.... Thus messages are constructed, as Saussure said, by a combination of a "horizontal" movement, which combines words together, and a "vertical" movement, which selects the particular words from the available inventory or "inner storehouse" of the language. The combinative (or syntagmatic) process manifests itself in contiguity (one word being placed next to another) and its mode is metonymic. The selective (or associative) process manifests itself in similarity (one word or concept being "like" another) and its mode is metaphoric. The "opposition" of metaphor and metonymy therefore may be said to represent in effect the essence of the total opposition between the synchronic mode of language (its immediate, coexistent, "vertical" relationships) and its diachronic mode (its sequential, successive, lineal progressive relationships). (Hawkes, 1977, pp. 77-78)
       It is striking that the layered structure that man has given to language constantly reappears in his analyses of nature. (Bronowski, 1977, p. 121)
       First, [an ideal intertheoretic reduction] provides us with a set of rules"correspondence rules" or "bridge laws," as the standard vernacular has it-which effect a mapping of the terms of the old theory (T o) onto a subset of the expressions of the new or reducing theory (T n). These rules guide the application of those selected expressions of T n in the following way: we are free to make singular applications of their correspondencerule doppelgangers in T o....
       Second, and equally important, a successful reduction ideally has the outcome that, under the term mapping effected by the correspondence rules, the central principles of T o (those of semantic and systematic importance) are mapped onto general sentences of T n that are theorems of Tn. (P. Churchland, 1979, p. 81)
       If non-linguistic factors must be included in grammar: beliefs, attitudes, etc. [this would] amount to a rejection of the initial idealization of language as an object of study. A priori such a move cannot be ruled out, but it must be empirically motivated. If it proves to be correct, I would conclude that language is a chaos that is not worth studying.... Note that the question is not whether beliefs or attitudes, and so on, play a role in linguistic behavior and linguistic judgments... [but rather] whether distinct cognitive structures can be identified, which interact in the real use of language and linguistic judgments, the grammatical system being one of these. (Chomsky, 1979, pp. 140, 152-153)
        23) Language Is Inevitably Influenced by Specific Contexts of Human Interaction
       Language cannot be studied in isolation from the investigation of "rationality." It cannot afford to neglect our everyday assumptions concerning the total behavior of a reasonable person.... An integrational linguistics must recognize that human beings inhabit a communicational space which is not neatly compartmentalized into language and nonlanguage.... It renounces in advance the possibility of setting up systems of forms and meanings which will "account for" a central core of linguistic behavior irrespective of the situation and communicational purposes involved. (Harris, 1981, p. 165)
       By innate [linguistic knowledge], Chomsky simply means "genetically programmed." He does not literally think that children are born with language in their heads ready to be spoken. He merely claims that a "blueprint is there, which is brought into use when the child reaches a certain point in her general development. With the help of this blueprint, she analyzes the language she hears around her more readily than she would if she were totally unprepared for the strange gabbling sounds which emerge from human mouths. (Aitchison, 1987, p. 31)
       Looking at ourselves from the computer viewpoint, we cannot avoid seeing that natural language is our most important "programming language." This means that a vast portion of our knowledge and activity is, for us, best communicated and understood in our natural language.... One could say that natural language was our first great original artifact and, since, as we increasingly realize, languages are machines, so natural language, with our brains to run it, was our primal invention of the universal computer. One could say this except for the sneaking suspicion that language isn't something we invented but something we became, not something we constructed but something in which we created, and recreated, ourselves. (Leiber, 1991, p. 8)

    Historical dictionary of quotations in cognitive science > Language

Страницы

См. также в других словарях:

  • truth commission — Introduction  an official body established to investigate a series of human rights violations, war crimes (war crime), or other serious abuses that took place over many years. Truth commissions aim to identify the causes and consequences of… …   Universalium

  • well — I [[t]we̱l[/t]] DISCOURSE USES ♦ (Well is used mainly in spoken English.) 1) ADV: ADV cl You say well to indicate that you are about to say something. Sylvia shook hands. Well, you go get yourselves some breakfast. ... Well, I don t like the look …   English dictionary

  • Truth — • Defines ontological, logical, and moral truth Catholic Encyclopedia. Kevin Knight. 2006. Truth     Truth     † …   Catholic encyclopedia

  • Truth — For other uses, see Truth (disambiguation). Time Saving Truth from Falsehood and Envy, François Lemoyne, 1737 Truth has a variety of meanings, such as the state of being in accord with fact or reality …   Wikipedia

  • truth — /tru:T/ noun 1 TRUE FACTS the truth the true facts about something, as opposed to what is untrue, imagined, or guessed (+ about): We never found out the truth about Mike s past. | tell the truth: How can we be sure that she s telling the truth? | …   Longman dictionary of contemporary English

  • Truth in Lending Act — The Truth in Lending Act (TILA) of 1968 is a United States federal law designed to protect consumers in credit transactions by requiring clear disclosure of key terms of the lending arrangement and all costs. The statute is contained in title I… …   Wikipedia

  • Truth & Justice — Infobox RPG title= Truth Justice caption= Truth Justice Cover designer= Chad Underkoffler publisher= Atomic Sock Monkey Press date= 2005 genre= Superhero system= PDQ Truth Justice is a superhero based independently published role playing game… …   Wikipedia

  • To Tell the Truth — infobox television show name = To Tell the Truth caption = Show logo, 1973 78 format = Game show rating = TV G runtime = 30 minutes with commercials creator = Bob Stewart, for Mark Goodson Bill Todman Productions starring = Bud Collyer (host,… …   Wikipedia

  • Sojourner Truth: What Time of Night It Is (1853) — ▪ Primary Source       African American reformer and evangelist Sojourner Truth was involved in the abolitionist and women s rights movements. The following is a brief account of her appearance at and speech before the rowdy Women s Rights… …   Universalium

  • as well — adverb in addition (Freq. 34) he has a Mercedes, too • Syn: ↑besides, ↑too, ↑also, ↑likewise * * * I. adverb : in …   Useful english dictionary

  • New Zealand Truth — The New Zealand Truth is a tabloid newspaper published weekly in New Zealand. It started as the Auckland Truth in 1887.[1][2] Described as scandal mongering and scurrilious , it has employed well known New Zealand authors, e.g. Robin Hyde in 1928 …   Wikipedia

Поделиться ссылкой на выделенное

Прямая ссылка:
… Нажмите правой клавишей мыши и выберите «Копировать ссылку»