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1 christen
['krɪs(ə)n]гл.1) рел. крестить, совершать обряд крещения2) уст. нарекать, давать имя при крещенииThey christened the child Joseph. — При крещении ребёнку дали имя Иосиф.
Syn:3) нарекать, давать название ( особенно кораблю)The ship was successfully launched, and christened as Santa Maria. — Корабль был успешно спущен на воду и назван "Санта Мария".
Syn:4) разг. окрестить, прозвать; дать имя, прозвищеGiven his building behaviour, we christened him "The Beaver." — За то усердие, с которым он занялся строительством, мы прозвали его "Бобром".
Syn:name 2.5) разг. обновлять, впервые употреблять (что-л. новое)I haven't christened my new stove yet. — Я ещё не испробовал новую печь.
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2 christen
ˈkrɪsn гл.
1) совершать обряд крещения Syn: baptize
2) давать имя при крещении;
нарекать (тж. о неодушевленных предметах, например, кораблях) They christened the child Joseph. ≈ При крещении ребенку дали имя Иосиф. The ship was successfully launched, and christened as Santa Maria. ≈ Корабль был успешно спущен на воду и назван Санта Мария. Syn: name
3) прозывать;
давать имя, прозвище We'll christen him with the brewer. ≈ Мы будем называть его пивоваром. Syn: name (церковное) крестить( церковное) давать имя при крещении;
нарекать - the child was *ed Mary after her grandmother девочку нарекли Марией в честь бабушки давать прозвище (человеку) ;
называть, давать имя (кораблю) - the ship was *ed the Sedov судно назвали "Седов" (разговорное) обновлять;
в первый раз пользоваться( чем-л) - have you *ed your new car yet? вы уже пробовали ездить на своей новой машине? christen давать имя, прозвище ~ давать имя при крещении ~ креститьБольшой англо-русский и русско-английский словарь > christen
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3 Cousteau, Jacques-Yves
SUBJECT AREA: Ports and shipping[br]b. 11 June 1910 Saint-André-de-Cubzac, France[br]French marine explorer who invented the aqualung.[br]He was the son of a country lawyer who became legal advisor and travelling companion to certain rich Americans. At an early age Cousteau acquired a love of travel, of the sea and of cinematography: he made his first film at the age of 13. After an interrupted education he nevertheless passed the difficult entrance examination to the Ecole Navale in Brest, but his naval career was cut short in 1936 by injuries received in a serious motor accident. For his long recuperation he was drafted to Toulon. There he met Philippe Tailliez, a fellow naval officer, and Frédéric Dumas, a champion spearfisher, with whom he formed a long association and began to develop his underwater swimming and photography. He apparently took little part in the Second World War, but under cover he applied his photographic skills to espionage, for which he was awarded the Légion d'honneur after the war.Cousteau sought greater freedom of movement underwater and, with Emile Gagnan, who worked in the laboratory of Air Liquide, he began experimenting to improve portable underwater breathing apparatus. As a result, in 1943 they invented the aqualung. Its simple design and robust construction provided a reliable and low-cost unit and revolutionized scientific and recreational diving. Gagnan shunned publicity, but Cousteau revelled in the new freedom to explore and photograph underwater and exploited the publicity potential to the full.The Undersea Research Group was set up by the French Navy in 1944 and, based in Toulon, it provided Cousteau with the Opportunity to develop underwater exploration and filming techniques and equipment. Its first aims were minesweeping and exploration, but in 1948 Cousteau pioneered an extension to marine archaeology. In 1950 he raised the funds to acquire a surplus US-built minesweeper, which he fitted out to further his quest for exploration and adventure and named Calypso. Cousteau also sought and achieved public acclaim with the publication in 1953 of The Silent World, an account of his submarine observations, illustrated by his own brilliant photography. The book was an immediate success and was translated into twenty-two languages. In 1955 Calypso sailed through the Red Sea and the western Indian Ocean, and the outcome was a film bearing the same title as the book: it won an Oscar and the Palme d'Or at the Cannes film festival. This was his favoured medium for the expression of his ideas and observations, and a stream of films on the same theme kept his name before the public.Cousteau's fame earned him appointment by Prince Rainier as Director of the Oceanographie Institute in Monaco in 1957, a post he held until 1988. With its museum and research centre, it offered Cousteau a useful base for his worldwide activities.In the 1980s Cousteau turned again to technological development. Like others before him, he was concerned to reduce ships' fuel consumption by harnessing wind power. True to form, he raised grants from various sources to fund research and enlisted technical help, namely Lucien Malavard, Professor of Aerodynamics at the Sorbonne. Malavard designed a 44 ft (13.4 m) high non-rotating cylinder, which was fitted onto a catamaran hull, christened Moulin à vent. It was intended that its maiden Atlantic crossing in 1983 should herald a new age in ship propulsion, with large royalties to Cousteau. Unfortunately the vessel was damaged in a storm and limped to the USA under diesel power. A more robust vessel, the Alcyone, was fitted with two "Turbosails" in 1985 and proved successful, with a 40 per cent reduction in fuel consumption. However, oil prices fell, removing the incentive to fit the new device; the lucrative sales did not materialize and Alcyone remained the only vessel with Turbosails, sharing with Calypso Cousteau's voyages of adventure and exploration. In September 1995, Cousteau was among the critics of the decision by the French President Jacques Chirac to resume testing of nuclear explosive devices under the Mururoa atoll in the South Pacific.[br]Principal Honours and DistinctionsLégion d'honneur. Croix de Guerre with Palm. Officier du Mérite Maritime and numerous scientific and artistic awards listed in such directories as Who's Who.Bibliography1953, The Silent World.1972, The Ocean World of Jacques Cousteau, 21 vols.Further ReadingR.Munson, 1991, Cousteau, the Captain and His World, London: Robert Hale (published in the USA 1989).LRD -
4 Muybridge, Eadweard
SUBJECT AREA: Photography, film and optics[br]b. 9 April 1830 Kingston upon Thames, Englandd. 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]Bibliography1887, Animal Locomotion, Philadelphia.1893, Descriptive Zoopraxography, Pennsylvania. 1899, Animals in Motion, London.1901, The Human Figure in Motion, London.Further Reading1973, 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.B.Coe, 1992, Muybridge and the Chromophoto-graphers, London.BC -
5 Maughan, Benjamin Waddy
SUBJECT AREA: Domestic appliances and interiors[br]fl. c. 1868 London, England[br]English inventor of the first gas geyser.[br]Maughan was a decorative painter in the Clerkenwell district of London. He invented the first instantaneous domestic water-heater, which did not utilize solid fuel. He christened his device a geyser, taking the name from the Icelandic word geysir, which is the name of a specific hot spring there and means "gusher". He patented the geyser on 23 December 1868. In his design the cold water entered from the top of the apparatus, then flowed downwards by means of constricting wires to be heated by hot gases rising from the burner below. Hot water then flowed into the bath or sink. No flue was fitted to conduct tainted air and gases from the bathroom. An impressive example of Maughan's geyser is on display in the Science Museum in London. The fittings are of brass and the casing is painted in marbled green, it stands on three curved legs and displays the Royal Arms.[br]Bibliography1868, "Improvements in apparatus for the heating of water and other liquids, applicable for baths and other purposes", British patent no. 3,917 (provides a very long account of the details of the invention and its purpose).DYBiographical history of technology > Maughan, Benjamin Waddy
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6 Modernism
Gottlob Frege, Georg Cantor, and Richard Dedekind were pure mathematicians who built no machines; but they did provide a means, laying the foundations of a new way of thinking in the West. If there is any utility to Modernism, Dedekind did something profoundly useful. The great event... came in the year he wrote his first letter to a fellow mathematician named Georg Cantor, and soon after published a mathematical definition of irrational numbers now known as the "Dedekind Cut." Separating forever the digital from the continuous, at least in arithmetic, Dedekind became the West's first Modernist in 1872. Everyone who has heard of Modernism has heard of Picasso. Most have heard of Joyce. But who has heard of Dedekind? Only mathematicians, the least likelylooking of those who aspire to change the world by using their minds. The public doesn't know what mathematicians are doing, and mathematicians are just as happy it doesn't, for they are as genuinely unworldly as artists claim to be.... Mathematicians did not invent. Instead, they insisted, they discovered things as Plato had-searching in a complicated alternate universe for elegant and beautiful relationships among objects that could not be said to exist outside the mind.Without their knowledge, however, the mathematicians of 1870s Germany were about to change the world. As a clutch of Victorian professors, avuncular, ascetic,... they were gathering unawares around the cradle of an infant Briar Rose that would one day be christened Modernism. (Everdell, 1997, pp. 30-31)Historical dictionary of quotations in cognitive science > Modernism
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