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although+it+was+dark

  • 1 Comma in complex sentence

    Запятая в сложноподчиненном предложении
    ↑ Comma
    В отличие от русского языка, в английском придаточное предложение в составе сложноподчиненного предложения не всегда отделяется запятой. В частности, запятой не отделяются:
    1) именные придаточные предложения (см. Nominal clause)

    What I want is to have a good sleep — Чего я хочу, так это выспаться

    She said that she would go to New York — Она сказала, что поедет в Нью-Йорк

    2) ограничительные определительные предложения (см. Relative clause)

    It was the film that I had already seen — Это был фильм, который я уже видел

    3) короткие обстоятельственные придаточные предложения (см. Adverbial clause), особенно если они стоят после главного предложения (кроме придаточных предложений, присоединяемых союзами since (в значении "так как"), whereas - тогда как, while (в значении "тогда как"), although, though - хотя, so that (в значении "чтобы"))

    There was much to arrange before I could leave — Надо было уладить много дел, перед тем как я мог уехать

    4) в прочих случаях придаточные предложения, как правило, отделяются от главного запятой

    John, who pretended to be gallant, volunteered to accompany the ladies in a walk — Джон, который старался выглядеть галантным, вызвался сопровождать дам на прогулке

    The lamps were not alight, although it was dark — Фонари не горели, хотя было темно

    After they had gone aft, we went into the fo'cas'le — После того как они ушли на корму, мы пошли в носовой кубрик

    English-Russian grammar dictionary > Comma in complex sentence

  • 2 Walter

    сущ. имя собст.; SK, DT 1
    ••
    I. в старом издании Стрелка:
    В погоне за человеком в чёрном через пустыню и горы Роланд считал его Мартеном (см. Marten). Однако, настигнув его, Роланд из разговора узнаёт, что это Уолтер, миньон Чёрной Башни, волшебник ещё более могущественный, чем Мартен.

    “And when you turned and looked, Marten was gone… gone west. Yet there was a man in Marten’s entourage, a man who affected the dress of a monk and the shaven head of a penitent—” / “Walter,” the gunslinger whispered. “You… you’re not Marten at all. You’re Walter!” / The man in black tittered. “At your service.” — А когда ты опомнился, Мартен уже ушёл… ушёл на Запад. Однако был в окружении Мартена один человек, тот, что облачился в монашескую сутану и обрил голову, как в знак покаяния… / – Уолтер, – прошептал Стрелок. – Ты… ты вовсе не Мартен. Ты – Уолтер! / Человек в чёрном захихикал. / – К вашим услугам. (ТБ 1)

    “I made your father and I broke him,” the man in black said grimly. “I came to your mother through Marten and took her. It was written, and it was. I am the furthest minion of the Dark Tower. Earth has been given into my hand.” — Я создал твоего отца, я же уничтожил его, – сказал человек в чёрном. – Через Мартена я пришёл к твоей матери и получил её. Так было написано, и так стало. Я миньон Тёмной Башни. Мне была отдана вся Земля. (ТБ 1)

    ••
    1.
    Человек в Чёрном говорит, что на самом деле он и Мартен, и Уолтер – разные воплощения одного существа. Об этом догадывался и сам Роланд, сказав Джейку, что никогда не видел этих двоих вместе.

    “Then hear this: when you returned, Marten had gone west, to join the rebels. So all said, anyway, and so you believed. Yet he and a certain witch left you a trap and you fell into it. Good boy! And although Marten was long gone by then, there was a man who sometimes made you think of him, was there not? A man who affected the dress of a monk and the shaven head of a penitent—” / “Walter,” the gunslinger whispered. And although he had come so far in his musings, the bald truth still amazed him. “You. Marten never left at all.” / The man in black tittered. “At your service.” — Тогда слушай: когда ты возвратился из Меджиса, Мартен уже ушёл на запад, чтобы примкнуть к мятежниками. Так по крайней мере все говорили, и ты в это поверил. Однако перед своим уходом он и одна ведьма подстроили для тебя западню, в которую ты попался. Славный малый! И хотя Мартена вроде бы уже давно не было в Гилеаде, но один человек сильно тебе о нём напоминал. Был там такой? Человек в сутане монаха с выбритой головой, похожий на кающегося грешника… / – Уолтер, – прошептал стрелок. В своих размышлениях он уже приходил к подобному предположению, но всё же обнажившаяся правда потрясла его. – Это ты. Мартен вовсе никуда не ушёл. / Человек в чёрном хохотнул. – К вашим услугам. (ТБ 1, r.)

    “I made your father and I broke him,” the man in black said grimly. “I came to your mother as Marten—there’s a truth you always suspected, is it not?—and took her. She bent beneath me like a willow… although (this may comfort you) she never broke. In any case it was written, and it was. I am the furthest minion of he who now rules the Dark Tower, and Earth has been given into that king’s red hand.” — Я создал твоего отца, и я же уничтожил его, – мрачно сказал человек в чёрном. – Я пришёл к твоей матери в образе Мартена, о чём, думаю, ты всегда догадывался. Я завладел ею. Она согнулась подо мной, как плакучая ива, хотя, если это тебя утешит, я не сумел её надломить. Так было написано, и так стало. Я самый миньон того, кто вершит свою власть в Тёмной Башне. Земля была отдана в алые руке того короля. (ТБ 1, r.)

    2.
    Уолтер о’Мрак (Walter o’ Dim)

    English-Russian dictionary of neologisms from a series of books by Stephen King "Dark Tower" > Walter

  • 3 Claudet, Antoine François Jean

    [br]
    b. 12 August 1797 France
    d. 27 December 1867 London, England
    [br]
    French pioneer photographer and photographic inventor in England.
    [br]
    He began his working life in banking but soon went into glassmaking and in 1829 he moved to London to open a glass warehouse. On hearing of the first practicable photographic processes in 1834, Claudet visited Paris, where he received instruction in the daguerreotype process from the inventor Daguerre, and purchased a licence to operate in England. On returning to London he began to sell daguerreotype views of Paris and Rome, but was soon taking and selling his own views of London. At this time exposures could take as long as thirty minutes and portraiture from life was impracticable. Claudet was fascinated by the possibilities of the daguerreotype and embarked on experiments to improve the process. In 1841 he published details of an accelerated process and took out a patent proposing the use of flat painted backgrounds and a red light in dark-rooms. In June of that year Claudet opened the second daguerreotype portrait studio in London, just three months after his rival, Richard Beard. He took stereoscopic photographs for Wheatstone as early as 1842, although it was not until the 1850s that stereoscopy became a major interest. He suggested and patented several improvements to viewers derived from Brewster's pattern.
    Claudet was also one of the first photographers to practise professionally Talbot's calotype process. He became a personal friend of Talbot, one of the few from whom the inventor was prepared to accept advice. Claudet died suddenly in London following an accident that occurred when he was alighting from an omnibus. A memoir produced shortly after his death lists over forty scientific papers relating to his researches into photography.
    [br]
    Principal Honours and Distinctions
    FRS 1853.
    Further Reading
    "The late M.Claudet", 1868, Photographic News 12:3 (obituary).
    "A.Claudet, FRS, a memoir", 1968, (reprinted from The Scientific Review), London: British Association (a fulsome but valuable Victorian view of Claudet).
    H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London (a comprehensive account of Claudet's daguerreotype work).
    H.J.P.Arnold, 1977, William Henry Fox Talbot, London (provides details of Claudet's relationship with Talbot).
    JW

    Biographical history of technology > Claudet, Antoine François Jean

  • 4 ■ play out

    ■ play out
    A v. i. + avv.
    B v. t. + avv.
    1 suonare ( un brano, un inno, ecc.) fino in fondo; giocare ( una partita) fino in fondo; recitare ( una commedia, una parte ecc.) fino in fondo: ( tennis) The game was played out although it was getting dark, si finì di giocare il game benché si stesse facendo buio
    2 (fig.) condurre ( una lotta, ecc.) fino in fondo
    3 (fig.) sfogare giocando ( un istinto, ecc.)
    5 filare, mollare ( una fune, ecc.) □ ( sport) to play it out, giocare finché uno dei due vinca □ ( sport) to play out time, tenere la palla; fare melina; tirare a «fare risultato» ( accontentandosi del pareggio) □ to be played out, ( sport) essere eliminato ( giocando); (fam., di persona) essere esausto, stanco morto; ( di denaro, provviste, ecc.) essere finito, esaurito; ( di abitudini, idee, ecc.) essere sorpassato, fuori moda.

    English-Italian dictionary > ■ play out

  • 5 there

    there adv allí / allá / ahí
    don't just stand there, do something no te quedes ahí parado, haz algo
    there is / there are hay
    tr[ðeəSMALLr/SMALL]
    1 allí, allá, ahí
    ■ don't just sit there, do something no te quedes ahí sentado, haz algo
    ■ it's over there, on the table está por allí, en la mesa
    2 (in discussion) acerca de eso
    \
    SMALLIDIOMATIC EXPRESSION/SMALL
    not to be all there faltarle a uno un tornillo
    there and then en el momento
    there is/are, etc→ link=be be{
    there you are aquí tiene
    there you go ya está
    there you go again ya empiezas otra vez
    there, there vamos, venga, ya está
    there ['ðær] adv
    1) : ahí, allí, allá
    stand over there: párate ahí
    over there: por allí, por allá
    who's there?: ¿quién es?
    2) : ahí, en esto, en eso
    there is where we disagree: en eso es donde no estamos de acuerdo
    there pron
    there comes a time to decide: llega un momento en que tiene uno que decidir
    2)
    there is, there are : hay
    there are many children here: aquí hay muchos niños
    there's a good hotel downtown: hay un buen hotel en el centro
    adv.
    • acullá adv.
    • ahí adv.
    • allá adv.
    • allí adv.

    I ðer, ðeə(r)
    1)
    a) ( close to person being addressed) ahí; ( further away) allí, ahí (esp AmL); (less precise, further) allá

    what have you got there? — ¿qué tienes ahí?

    up/down there — ahí arriba/abajo

    you there! — (colloq) oye, tú! (fam), che(, vos)! (RPl fam)

    I know what it's like, I've been there before — ya sé lo que es, a mí también me ha tocado pasar por eso

    there and then: they solved it for me there and then me lo resolvieron en el acto or en el momento; I made up my mind there and then to ask her en ese mismo momento me decidí a pedírselo; so there! — (colloq) para que sepas! (fam)

    2) (calling attention to something, pointing something out etc)

    there's the bell, it must be her! — el timbre! debe de ser ella

    there you are — ( giving something) aquí tiene

    there we are: that's that done! — ya está! listo!

    it's a pity, but there we o you are — es una lástima pero así son las cosas

    there he goes: politics again! — ya está otra vez con la política!

    eat it all up, theres a good boy — vamos, comételo todo así me gusta!

    3)
    a) ( present)

    who's there? — ( at the door) ¿quién es?; ( in the dark) ¿quién anda ahí?

    is Tony there? — ¿está Tony?

    not to be all there — (colloq)

    he's not all there — le falta un tornillo (fam), no está bien de la cabeza (fam)

    4)

    you're right there — ahí or en eso tienes razón

    5) (as interj)
    b) (coaxing, soothing)

    there, there, don't cry! — vamos or (Esp tb) venga or (Méx tb) ándale, no llores

    there now! see how easy it is? — ahí está ¿ves qué fácil es?


    II ðer weak form ðər, ðeə(r) weak form ðə(r)

    there is/are — hay

    there was — había/hubo

    there's no sugar left — no queda azúcar, se ha acabado el azúcar

    there comes a time when... — llega un momento en el que...

    1. [ðɛǝ(r)]
    ADV
    1) (place) (=there near you) ahí; (less precisely) allí; (further away) allá

    put it there, on the table — ponlo ahí, en la mesa

    there he is! — ¡allí está!

    there's the bus — ahí viene el autobús, ya viene el autobús

    there we were, stuck — así que nos encontramos allí sin podernos mover

    • to go there and back — ir y volver

    we left him back there at the crossroads — lo dejamos allí atrás, en el cruce

    • to be there for sb — (=supportive) estar al lado de algn, apoyar a algn

    • down there on the floor — ahí en el suelo

    I'm going to London, my sister's already down there — voy a Londres, mi hermana ya está allí

    • it's in there — está ahí dentro

    • it's on there — está ahí encima

    • it's over there by the TV — está allí, junto al televisor

    • there and then — en el acto, en seguida

    • they're through there in the dining room — están por esa puerta or por ahí, en el comedor

    • what's the cat doing up there? — ¿qué hace el gato ahí arriba?

    • hurry up there! — ¡menearse!

    • mind out there! — ¡cuidado ahí!

    • move along there! — (on street) ¡retírense!; (in bus, train) ¡muévanse!, ¡no se paren, sigan para atrás!

    • you there! — ¡oye, tú!, ¡eh, usted! more frm

    3) (=in existence, available)

    if the demand is there, the product will appear — si existe la demanda, aparecerá el producto

    it's no good asking because the money just isn't there — no sirve de nada pedir dinero, sencillamente porque no hay

    is John there, please? — (on phone) ¿está John?

    4) (=on that point) en eso

    there we differ — en eso discrepamos or no estamos de acuerdo

    there you are wrong — ahí se equivoca, en eso te equivocas

    5) (=at that point)

    • we'll leave it there for today — lo dejaremos aquí por hoy

    • could I just stop you there and say something? — ¿puedo interrumpirte para decir algo al respecto?

    6) (emphasizing, pointing out)

    there, now look what you've done! — desde luego, ¡mira lo que has hecho!

    • there again — por otra parte

    • there you are, what did I tell you! — ¿ves? es lo que te dije

    "there you are," - he said, handing the book over — -ahí lo tienes -dijo, entregando el libro

    • there you go again, upsetting the children — ¿vuelta a las andadas, molestando a los niños?, ¿ya estamos otra vez molestando a los niños?

    it wasn't what I wanted, but there you go * — no era lo que buscaba, pero ¿qué le vamos a hacer?

    • I'm not going, so there! * — pues no voy, y fastídiate *

    2.
    PRON

    there is, there are — hay

    there were ten bottles — había or (esp LAm) habían diez botellas

    how many are there? — ¿cuántos hay?

    are there any bananas? — ¿hay plátanos?

    is there any coffee? — ¿hay café?

    • there is no wine left — no queda vino

    • there might be time/room — puede que haya tiempo/sitio

    • there is a pound missing — falta una libra

    3.
    [ðɛǝ(r)]
    EXCL

    there, drink this — bebe esto

    there, there — (comforting) no te preocupes, no pasa nada

    but there, what's the use? — pero ¡vamos!, es inútil

    THERE IS, THERE ARE ► Unlike there is/are {etc}, hay, hubo, había, ha habido {etc} do not change to reflect number:
    There were two kidnappings and a murder Hubo dos secuestros y un asesinato
    Will there be many students at the party? ¿Habrá muchos estudiantes en la fiesta? ► To translate there must be, there may be {etc}, you can use tiene que haber, debe (de) haber, puede haber {etc} although other constructions will also be possible:
    There may be a strike Puede haber or Puede que haya huelga
    There must be all sorts of things we could do Tiene que haber muchas cosas que podamos hacer ► If there is/ there are is followed by the, you should normally not use hay {etc}. Use estar instead:
    And then there are the neighbours to consider Están también los vecinos, a los que hay que tener en cuenta
    There is also the question of the money transfer Está también la cuestión de la transferencia del dinero ► Hay {etc} should only be used to talk about existence and occurrence. Don't use it to talk about location. Use estar instead to say where things are:
    After the shop there's the bus station Después de la tienda está la estación de autobuses ► Don't use hay {etc} to translate phrases like there are four of us, there will be six of them. Instead, use ser in the relevant person:
    There are four of us Somos cuatro
    There will be six of them Serán seis ► Remember to use que in the construction hay algo que hacer ( there is sth to do):
    There is a lot to do Hay mucho que hacer
    What is there to do? ¿Qué hay que hacer? For further uses and examples, see there
    * * *

    I [ðer, ðeə(r)]
    1)
    a) ( close to person being addressed) ahí; ( further away) allí, ahí (esp AmL); (less precise, further) allá

    what have you got there? — ¿qué tienes ahí?

    up/down there — ahí arriba/abajo

    you there! — (colloq) oye, tú! (fam), che(, vos)! (RPl fam)

    I know what it's like, I've been there before — ya sé lo que es, a mí también me ha tocado pasar por eso

    there and then: they solved it for me there and then me lo resolvieron en el acto or en el momento; I made up my mind there and then to ask her en ese mismo momento me decidí a pedírselo; so there! — (colloq) para que sepas! (fam)

    2) (calling attention to something, pointing something out etc)

    there's the bell, it must be her! — el timbre! debe de ser ella

    there you are — ( giving something) aquí tiene

    there we are: that's that done! — ya está! listo!

    it's a pity, but there we o you are — es una lástima pero así son las cosas

    there he goes: politics again! — ya está otra vez con la política!

    eat it all up, theres a good boy — vamos, comételo todo así me gusta!

    3)
    a) ( present)

    who's there? — ( at the door) ¿quién es?; ( in the dark) ¿quién anda ahí?

    is Tony there? — ¿está Tony?

    not to be all there — (colloq)

    he's not all there — le falta un tornillo (fam), no está bien de la cabeza (fam)

    4)

    you're right there — ahí or en eso tienes razón

    5) (as interj)
    b) (coaxing, soothing)

    there, there, don't cry! — vamos or (Esp tb) venga or (Méx tb) ándale, no llores

    there now! see how easy it is? — ahí está ¿ves qué fácil es?


    II [ðer] weak form [ðər, ðeə(r)] weak form [ðə(r)]

    there is/are — hay

    there was — había/hubo

    there's no sugar left — no queda azúcar, se ha acabado el azúcar

    there comes a time when... — llega un momento en el que...

    English-spanish dictionary > there

  • 6 Singer, Isaac Merritt

    [br]
    b. 27 October 1811 Pittstown, New York, USA
    d. 23 July 1875 Torquay, Devonshire, England
    [br]
    American inventor of a sewing machine, and pioneer of mass production.
    [br]
    The son of a millwright, Singer was employed as an unskilled labourer at the age of 12, but later gained wide experience as a travelling machinist. He also found employment as an actor. On 16 May 1839, while living at Lockport, Illinois, he obtained his first patent for a rock-drilling machine, but he soon squandered the money he made. Then in 1849, while at Pittsburgh, he secured a patent for a wood-and metal-carving machine that he had begun five years previously; however, a boiler explosion in the factory destroyed his machine and left him penniless.
    Near the end of 1850 Singer was engaged to redesign the Lerow \& Blodgett sewing machine at the Boston shop of Orson C.Phelps, where the machine was being repaired. He built an improved version in eleven days that was sufficiently different for him to patent on 12 August 1851. He formed a partnership with Phelps and G.B. Zieber and they began to market the invention. Singer soon purchased Phelps's interest, although Phelps continued to manufacture the machines. Then Edward Clark acquired a one-third interest and with Singer bought out Zieber. These two, with dark's flair for promotion and marketing, began to create a company which eventually would become the largest manufacturer of sewing machines exported worldwide, with subsidiary factories in England.
    However, first Singer had to defend his patent, which was challenged by an earlier Boston inventor, Elias Howe. Although after a long lawsuit Singer had to pay royalties, it was the Singer machine which eventually captured the market because it could do continuous stitching. In 1856 the Great Sewing Machine Combination, the first important pooling arrangement in American history, was formed to share the various patents so that machines could be built without infringements and manufacture could be expanded without fear of litigation. Singer contributed his monopoly on the needle-bar cam with his 1851 patent. He secured twenty additional patents, so that his original straight-needle vertical design for lock-stitching eventually included such refinements as a continuous wheel-feed, yielding presser-foot, and improved cam for moving the needle-bar. A new model, introduced in 1856, was the first to be intended solely for use in the home.
    Initially Phelps made all the machines for Singer. Then a works was established in New York where the parts were assembled by skilled workers through filing and fitting. Each machine was therefore a "one-off" but Singer machines were always advertised as the best on the market and sold at correspondingly high prices. Gradually, more specialized machine tools were acquired, but it was not until long after Singer had retired to Europe in 1863 that Clark made the change to mass production. Sales of machines numbered 810 in 1853 and 21,000 ten years later.
    [br]
    Bibliography
    12 August 1851, US patent no. 8,294 (sewing machine)
    Further Reading
    Biographies and obituaries have appeared in Appleton's Cyclopedia of America, Vol. V; Dictionary of American Biography, Vol XVII; New York Times 25 July 1875; Scientific American (1875) 33; and National Cyclopaedia of American Biography.
    D.A.Hounshell, 1984, From the American System to Mass Production 1800–1932. The
    Development of Manufacturing Technology in the United States, Baltimore (provides a thorough account of the development of the Singer sewing machine, the competition it faced from other manufacturers and production methods).
    RLH

    Biographical history of technology > Singer, Isaac Merritt

  • 7 Muybridge, Eadweard

    [br]
    b. 9 April 1830 Kingston upon Thames, England
    d. 8 May 1904 Kingston upon Thames, England
    [br]
    English photographer and pioneer of sequence photography of movement.
    [br]
    He was born Edward Muggeridge, but later changed his name, taking the Saxon spelling of his first name and altering his surname, first to Muygridge and then to Muybridge. He emigrated to America in 1851, working in New York in bookbinding and selling as a commission agent for the London Printing and Publishing Company. Through contact with a New York daguerreotypist, Silas T.Selleck, he acquired an interest in photography that developed after his move to California in 1855. On a visit to England in 1860 he learned the wet-collodion process from a friend, Arthur Brown, and acquired the best photographic equipment available in London before returning to America. In 1867, under his trade pseudonym "Helios", he set out to record the scenery of the Far West with his mobile dark-room, christened "The Flying Studio".
    His reputation as a photographer of the first rank spread, and he was commissioned to record the survey visit of Major-General Henry W.Halleck to Alaska and also to record the territory through which the Central Pacific Railroad was being constructed. Perhaps because of this latter project, he was approached by the President of the Central Pacific, Leland Stanford, to attempt to photograph a horse trotting at speed. There was a long-standing controversy among racing men as to whether a trotting horse had all four hooves off the ground at any point; Stanford felt that it did, and hoped than an "instantaneous" photograph would settle the matter once and for all. In May 1872 Muybridge photographed the horse "Occident", but without any great success because the current wet-collodion process normally required many seconds, even in a good light, for a good result. In April 1873 he managed to produce some better negatives, in which a recognizable silhouette of the horse showed all four feet above the ground at the same time.
    Soon after, Muybridge left his young wife, Flora, in San Francisco to go with the army sent to put down the revolt of the Modoc Indians. While he was busy photographing the scenery and the combatants, his wife had an affair with a Major Harry Larkyns. On his return, finding his wife pregnant, he had several confrontations with Larkyns, which culminated in his shooting him dead. At his trial for murder, in February 1875, Muybridge was acquitted by the jury on the grounds of justifiable homicide; he left soon after on a long trip to South America.
    He again took up his photographic work when he returned to North America and Stanford asked him to take up the action-photography project once more. Using a new shutter design he had developed while on his trip south, and which would operate in as little as 1/1,000 of a second, he obtained more detailed pictures of "Occident" in July 1877. He then devised a new scheme, which Stanford sponsored at his farm at Palo Alto. A 50 ft (15 m) long shed was constructed, containing twelve cameras side by side, and a white background marked off with vertical, numbered lines was set up. Each camera was fitted with Muybridge's highspeed shutter, which was released by an electromagnetic catch. Thin threads stretched across the track were broken by the horse as it moved along, closing spring electrical contacts which released each shutter in turn. Thus, in about half a second, twelve photographs were obtained that showed all the phases of the movement.
    Although the pictures were still little more than silhouettes, they were very sharp, and sequences published in scientific and photographic journals throughout the world excited considerable attention. By replacing the threads with an electrical commutator device, which allowed the release of the shutters at precise intervals, Muybridge was able to take series of actions by other animals and humans. From 1880 he lectured in America and Europe, projecting his results in motion on the screen with his Zoopraxiscope projector. In August 1883 he received a grant of $40,000 from the University of Pennsylvania to carry on his work there. Using the vastly improved gelatine dry-plate process and new, improved multiple-camera apparatus, during 1884 and 1885 he produced over 100,000 photographs, of which 20,000 were reproduced in Animal Locomotion in 1887. The subjects were animals of all kinds, and human figures, mostly nude, in a wide range of activities. The quality of the photographs was extremely good, and the publication attracted considerable attention and praise.
    Muybridge returned to England in 1894; his last publications were Animals in Motion (1899) and The Human Figure in Motion (1901). His influence on the world of art was enormous, over-turning the conventional representations of action hitherto used by artists. His work in pioneering the use of sequence photography led to the science of chronophotography developed by Marey and others, and stimulated many inventors, notably Thomas Edison to work which led to the introduction of cinematography in the 1890s.
    [br]
    Bibliography
    1887, Animal Locomotion, Philadelphia.
    1893, Descriptive Zoopraxography, Pennsylvania. 1899, Animals in Motion, London.
    Further Reading
    1973, Eadweard Muybridge: The Stanford Years, Stanford.
    G.Hendricks, 1975, Muybridge: The Father of the Motion Picture, New York. R.Haas, 1976, Muybridge: Man in Motion, California.
    BC

    Biographical history of technology > Muybridge, Eadweard

  • 8 Shaw, Percy

    [br]
    b. 1889 Yorkshire, England d. 1975
    [br]
    English inventor of the "catseye" reflecting roadstud.
    [br]
    Little is known of Shaw's youth, but in the 1930s he was running a comparatively successful business repairing roads. One evening in 1933, he was driving to his home in Halifax, West Yorkshire; it was late, dark and foggy and only the reflection of his headlights from the tram-tracks guided him and kept him on the road. He decided to find or make an alternative to tramlines, which were not universal and by that time were being taken up as trams were being replaced with diesel buses.
    Shaw needed a place to work and bought the old Boothtown Mansion, a cloth-merchant's house built in the mid-eighteenth century. There he devoted himself to the production of a prototype of the reflecting roadstud, inspired by the reflective nature of a cat's eyes. Shaw's design consisted of a prism backed by an aluminium mirror, set in pairs in a rubber casing; when traffic passed over the stud, the prisms would be wiped clean as the casing was depressed. In 1934, Shaw obtained permission from the county surveyor to lay, at his own expense, a short stretch of catseyes on a main highway near his home: fifty were laid at Brightlington cross-roads, an accident blackspot near Bradford. This was inspected by a number of surveyors in 1936. The first order for catseyes had already been placed in 1935, for a pedestrian crossing in Baldon, Yorkshire. There were alternative designs in existence, particularly in France, and in 1937 the Ministry of Transport laid an 8 km (5 mile) stretch in Oxfordshire with sample lengths of different types of studs. After two years, most of them had fractured, become displaced or ceased to reflect; only the product of Shaw's company, Reflecting Roadstuds Ltd, was still in perfect condition. The outbreak of the Second World War brought blackout regulations, which caused a great boost to sales of reflecting roadstuds; orders reached some 40,000 per week. Production was limited, however, due to the shortage of rubber supplies after the Japanese overran South-East Asia; until the end of the war, only about 12,000 catseyes were produced a year.
    Over fifty million catseyes have been installed in Britain, where on average there are about two hundred and fifty catseyes in each kilometre of road, if laid in a single line. The success of Shaw's invention brought him great wealth, although he continued to live in the same house, without curtains—which obstructed his view—or carpets—which harboured odours and germs. He had three Rolls-Royce cars, and four television sets which were permanently switched on while he was at home, each tuned to a different channel.
    [br]
    Principal Honours and Distinctions
    OBE 1965.
    Further Reading
    E.de Bono (ed.), 1979, Eureka, London: Thames \& Hudson.
    "Percy's bright idea", En Route (the magazine of the Caravan Club), reprinted in The Police Review, 23 March 1983.
    IMcN

    Biographical history of technology > Shaw, Percy

  • 9 khef

    сущ.; SK, DT
    ••
    транслит. кхеф, кеф
    На первоначальном зыке старого мира это слово имело множество других значений, например вода, рождение, жизненная сила. Фактически является неким определением экстраординарных способностей человека, например способности к ощущению мыслей сочлена по ка-тету. Известно, что существует много градаций данных способностей, которые достигались в течение многих лет. (по материалам сайта stephenking.ru)
    ••
    I. в старом издании Стрелка:

    He had progressed through the khef over many years, and had reached the fifth level. At the seventh or eighth, he would not have been thirsty; he could have watched his own body dehydrate with clinical, detached attention, watering its crevices and dark inner hollows only when his logic told him it must be done. He was not seventh or eighth. He was fifth. So he was thirsty, although he had no particular urge to drink. — Стрелок много лет совершенствовался в искусстве выживания – кеф – и достиг пятого уровня. На седьмом или восьмом он вообще не будет испытывать жажды; он будет точно управлять своим телом, принимая воду только тогда, когда подскажет ему расчёт. Но он не был пока ни на седьмом, ни на восьмом уровне, он был на пятом. И испытывал жажду, хотя особой потребности в воде у него не было. (ТБ 1)

    ••
    1. разделённая судьба; предназначение

    “You don’t have any idea what door it might open?” Roland asked Eddie. “That was not part of your khef?” / “No—but it might be good for something even though it isn’t done.” He held the key out to Roland. “I want you to keep it for me.” — Возможно, тебе известно, какую дверь он отмыкает? – Роланд обращался к Эдди. – Не значилось ли это в предначертаниях твоего кеф? / – Нет… но на что-нибудь он, может, и сгодится, хоть и недоделанный. – Молодой человек протянул ключ Роланду. – Я хочу, чтобы он хранился у тебя. (ТБ 3)

    They shared each other’s thoughts, Roland had said; sharing khef was part of what ka-tet meant. And what had been seeping into Jake’s thoughts ever since Roland stepped into the aisle and began to try Blaine with riddles from his young days was a sense of doom. — Они разделяют мысли друг друга, говорил Роланд. Разделенный кхеф – один из атрибутов катета. И сейчас, когда Роланд вышел в проход и начал испытывать Блейна загадками, которые слышал в молодости, в мыслях у Джейка стало проскальзывать ощущение обречённости. (ТБ 4)

    cм. также ka-tet

    English-Russian dictionary of neologisms from a series of books by Stephen King "Dark Tower" > khef

  • 10 storage variety

    торг., с.-х. сорт, пригодный [предназначенный\] для хранения; сорт для хранения

    a good storage variety — сорт, хорошо переносящий хранение

    Detroit Dark Red was the main home-canning variety, although its solid roots also make it good as a storage variety. — "Детройтская темно-красная" была основным сортом (свеклы) для домашнего консервирования, хотя, благодаря твердым корнеплодам, этот сорт хорошо подходит и для хранения.

    See:

    Англо-русский экономический словарь > storage variety

  • 11 Farmers' Satin

    A good quality satin fabric, woven from cotton warp and wool weft. Used as a lining material and finished with a lustre. The satin weaves on 5, 7, 9 and 11 ends are variously used. The 9-shaft satin weave is most used. Introduced about 1842 in the American market in black and other dark colours it soon received great favour and lighter colours were supplied. Although intended for linings only, the cloth was soon taken up for women's dresses. Made in 27-in. and 32-in. (Also known as Italian satin)

    Dictionary of the English textile terms > Farmers' Satin

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