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1 artistic expression
English-German dictionary of Architecture and Construction > artistic expression
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2 artistic expression
1) Искусство: художественная выразительность2) Реклама: художественное выражение -
3 artistic expression
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4 artistic expression
umjetniÄki izraz -
5 artistic expression
• taiteellinen ilmaisu• taideilmaisu -
6 artistic expression
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7 freedom of artistic expression
Юридический термин: свобода художественного самовыраженияУниверсальный англо-русский словарь > freedom of artistic expression
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8 expression
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9 medium
1. noun2) (intermediate agency) Mittel, dasby or through the medium of — durch
4) (means of communication or artistic expression) Medium, das6) (middle degree) Mittelweg, der; see also academic.ru/33596/happy">happy 1)2. adjectivemittler...; medium nur präd., halb durchgebraten [Steak]* * *['mi:diəm] 1. plurals - media; noun1) (something by or through which an effect is produced: Air is the medium through which sound is carried.) das Mittel2) ((especially in plural) a means (especially radio, television and newspapers) by which news etc is made known: the news media.) die Medien (pl.)3) (a person through whom spirits of dead people are said to speak: I know a medium who says she can communicate with Napoleon.) das Medium4) (a substance in which specimens are preserved, bacteria grown etc.) das Medium2. adjective(middle or average in size, quality etc: Would you like the small, medium or large packet?) mittel* * *me·dium[ˈmi:diəm]1. (average) durchschnittlich, mittelof \medium height von mittlerer Größe\medium [or \medium-dated] securities mittelfristige StaatspapiereII. n<pl -s or -dia>advertising \medium Werbeträger ma \medium for [or of] communication ein Kommunikationsmittel ntthrough the \medium of dance/radio durch das Medium des Tanzes/des Radios\medium of exchange Tauschmittel ntprint \medium Printmedium nt3.<pl -s>(spiritualist) Medium ntculture \medium künstlicher Nährboden5.* * *['miːdɪəm]1. adjquality, size, height, length etc mittlere(r, s); steak halb durch, medium; (= medium-sized) mittelgroßof medium height/build/size — mittelgroß
in/over the medium term — mittelfristig
2. n pl media or -s2) (= surrounding substance) (PHYS) Medium nt; (= environment) Umgebung f; (air, water etc) Element nt3) (= midpoint) Mitte fto strike a happy medium — den goldenen Mittelweg finden
4) (= spiritualist) Medium nt* * *medium [ˈmiːdjəm; -ıəm]A pl -dia [-djə; -dıə], -diums s1. fig Mitte f, Mittel n, Mittelweg m:2. Durchschnitt m, Mittel n3. BIOL, CHEM, PHYS Medium n, Träger m, Mittel n:(culture) medium Kultursubstrat n, (künstlicher) Nährboden4. MAL Bindemittel n5. WIRTSCH Medium n:a) (Tausch-, Zahlungs- etc) Mittel n:medium of exchange (payment)b) Werbemedium, -träger m (Fernsehen, Zeitung etc)6. (künstlerisches) Medium, Ausdrucksmittel n7. (Ausdrucks- etc) Mittel n:8. Hypnose, Parapsychologie: Medium n (Person)9. Medianpapier n (englisches Druckpapier 18 x 28, Schreibpapier 17½ x 22 Zoll; amer. Druckpapier 19 x 24, Schreibpapier 18 x 23 Zoll)B adj1. a) mittler(er, e, es):b) mittelmäßig (Begabung etc)2. Durchschnitts…med. abk1. medical2. medicine3. medieval4. medium* * *1. noun2) (intermediate agency) Mittel, dasby or through the medium of — durch
4) (means of communication or artistic expression) Medium, das2. adjectivemittler...; medium nur präd., halb durchgebraten [Steak]* * *adj.Mittel- präfix.durchschnittich adj.durchschnittlich adj.mittel... adj. -
10 individual blend
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11 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
12 bent
bentpast tense, past participle; = bendbent1 adj torcido / dobladobent2 vbtr[bent]past & past participle1→ link=bend bend{1 torcido,-a, doblado,-a3 slang (homosexual) de la acera de enfrente\SMALLIDIOMATIC EXPRESSION/SMALLto be bent on «+ -ing» estar empeñado,-a en +infbent ['bɛnt] n: aptitud f, inclinación fadj.• abocinado, -a adj.• cacho, -a adj.• combo, -a adj.• corvo, -a adj.• derrengado, -a adj.• torcido, -a adj.n.• inclinación (propensión) s.f.• propensión s.f.pret., p.p.(Preterito definido y participio pasivo de "to bend")
I bent
II
1) < pipe> curvado, torcido2) ( determined)to be bent on doing something — estar* empeñado en hacer algo
3) (BrE sl)a) ( corrupt) corrupto, chueco (AmL fam)b) ( homosexual)to be bent — ser* del otro bando (fam)
III
noun (no pl)a) ( inclination) inclinaciones fplb) ( aptitude) aptitud f[bent]1.PTPP of bend2. ADJ1) [wire, pipe] doblado; (=twisted) torcido2) (esp Brit) ** pej (=dishonest) pringado (Sp) *, chueco (LAm) *, corrupto3) (Brit) ** pej (=homosexual) del otro bando *, invertido4)to be bent on doing sth — (fig) (=determined) estar resuelto a or empeñado en hacer algo
to be bent on a quarrel — estar resuelto a or empeñado en provocar una riña
to be bent on pleasure — estar resuelto a or empeñado en divertirse
3.N (=inclination) inclinación f ; (=aptitude) facilidad fof an artistic bent — con una inclinación artística, con inclinaciones artísticas
* * *
I [bent]
II
1) < pipe> curvado, torcido2) ( determined)to be bent on doing something — estar* empeñado en hacer algo
3) (BrE sl)a) ( corrupt) corrupto, chueco (AmL fam)b) ( homosexual)to be bent — ser* del otro bando (fam)
III
noun (no pl)a) ( inclination) inclinaciones fplb) ( aptitude) aptitud f -
13 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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14 inspiration
noun inspiracióninspiration n inspiracióntr[ɪnspɪ'reɪʃən]1 (gen) inspiración nombre femenino\SMALLIDIOMATIC EXPRESSION/SMALLto draw/find/get inspiration from somebody/something inspirarse en alguien/algoinspiration [.ɪntspə'reɪʃən] n: inspiración fn.• estro s.m.• inspiración s.f.• numen s.m.• vena s.f.'ɪnspə'reɪʃəna) u ( for artistic creation) inspiración fb) (encouragement, example) (no pl)her bravery was a constant inspiration to them — su valor fue una constante fuente de inspiración para ellos
[ˌɪnspǝ'reɪʃǝn]N1) (=motivation) inspiración fthe war has provided the inspiration for many novels — la guerra ha sido fuente de inspiración para muchas novelas
2) (=inspired idea) idea f genial* * *['ɪnspə'reɪʃən]a) u ( for artistic creation) inspiración fb) (encouragement, example) (no pl) -
15 output
(the quantity of goods, amount of work produced: The output of this factory has increased by 20%; His output is poor.) producciónoutput n produccióntr['aʊtpʊt]2 SMALLELECTRICITY/SMALL salida3 SMALLCOMPUTING/SMALL salida\SMALLIDIOMATIC EXPRESSION/SMALLoutput device dispositivo de salidaoutput n: producción f (de una fábrica), rendimiento m (de una máquina), productividad f (de una persona)n.• entrega s.f.• potencia de salida s.f.• producción s.f.• rendimiento s.m.• salida s.f.
I 'aʊtpʊtmass & count noun1)a) ( of factory) producción f; (of worker, machine) rendimiento mb) (literary, artistic) producción fc) ( Comput) salida f2) ( Elec) salida f
II
['aʊtpʊt]1.N [of factory] producción f ; [of person, machine] rendimiento m ; (Comput) salida f ; (Elec) potencia f de salida2.VT (Comput) imprimir3.CPDoutput bonus N — prima f por rendimiento
output device N — dispositivo m de salida
* * *
I ['aʊtpʊt]mass & count noun1)a) ( of factory) producción f; (of worker, machine) rendimiento mb) (literary, artistic) producción fc) ( Comput) salida f2) ( Elec) salida f
II
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16 conceited
[kən'siːtɪd]* * *adjective (having too much pride in oneself: She's conceited about her artistic ability.) presuntuoso* * *conceited /kənˈsi:tɪd/a.1 presuntuoso; vanitoso; pieno di séconceitedly avv. conceitedness n. [u].* * *[kən'siːtɪd] -
17 community
kə'mju:nətiplural - communities; noun1) (a group of people especially having the same religion or nationality and living in the same general area: the West Indian community in London.) comunidad2) (the public in general: He did it for the good of the community; (also adjective) a community worker, a community centre.) comunidad, colectividadcommunity n comunidadtr[kə'mjʊːnɪtɪ]noun (pl communities)1 (people living in one place) comunidad nombre femenino\SMALLIDIOMATIC EXPRESSION/SMALLcommunity centre centro socialcommunity policing sistema nombre masculino de policía de barriocommunity service trabajos nombre masculino plural al servicio de la comunidadcommunity spirit espíritu nombre masculino comunitariothe local community el vecindarion.• colectividad s.f.• comunidad s.f.• corporación s.f.• vecindario s.m.kə'mjuːnəti1)a) ( people in a locality) comunidad fb) ( society at large)the community — la comunidad; (before n)
community service — trabajo m comunitario ( prestado en lugar de cumplir una pena de prisión)
community spirit — espíritu m de comunidad
2)a) ( large grouping) comunidad f, colectividad fthe city's black community — la población or comunidad negra de la ciudad
b) ( people living together) comuna f[kǝ'mjuːnɪtɪ]1. N1) (=people at large) comunidad f, sociedad f ; (=people locally) comunidad fthe English community in Rome — la colectividad or colonia inglesa de Roma
3)the Community — (=EEC) la Comunidad
2.CPDcommunity action N — actuación f de la comunidad
community care N — (Brit) política f de integración social de enfermos y ancianos
community care programme N — programa cuyo objetivo es ayudar a integrar a pacientes con problemas mentales en la comunidad en vez de enviarlos a residencias especiales
community centre N — centro m social
community charge N — (Brit) (Admin) (formerly) (contribución f de) capitación f
community chest N — (US) fondo m para beneficencia social
community college N — (US) establecimiento docente de educación terciaria donde se realizan cursos de dos años
community health centre N — centro m médico comunitario
Community law N — derecho m comunitario
community leader N — representante mf de una comunidad
community life N — vida f comunitaria
community policeman N — policía m de barrio
community policewoman N — policía f de barrio
community policing N — política policial de acercamiento a la comunidad
Community policy N — (EC) política f comunitaria
community politics N — política f local
Community regulations NPL — normas fpl comunitarias
community service N — trabajo m comunitario (prestado en lugar de cumplir una pena de prisión)
community singing N — canto m colectivo
community spirit N — sentimiento m de comunidad, civismo m
community worker N — asistente mf social
* * *[kə'mjuːnəti]1)a) ( people in a locality) comunidad fb) ( society at large)the community — la comunidad; (before n)
community service — trabajo m comunitario ( prestado en lugar de cumplir una pena de prisión)
community spirit — espíritu m de comunidad
2)a) ( large grouping) comunidad f, colectividad fthe city's black community — la población or comunidad negra de la ciudad
b) ( people living together) comuna f -
18 copyright
noun ((usually abbreviated to ©) the sole right to reproduce a literary, dramatic, musical or artistic work, and also to perform, translate, film, or record such a work.) copyright, derechos de autor
copyright /kopi'rraj(t)/ sustantivo masculino (pl ' copyright' also found in these entries: Spanish: propiedad - derecho English: copyright - infringement - copytr['kɒpɪraɪt]1 copyright nombre masculino, derechos nombre masculino plural de autor1 protegido,-a por el copyright1 obtener el copyright de, registrar los derechos de autor\SMALLIDIOMATIC EXPRESSION/SMALLto hold the copyright on something tener el copyright de algo, tener los derechos de algocopyright ['kɑpi.raɪt] vt: registrar los derechos de: derechos mpl de autorn.• derecho de propiedad literaria s.m.• derechos de autor s.m.pl.• derechos de propiedad literaria s.m.pl.• privilegio s.m.mass noun copyright m, derechos mpl de reproducción; (before n)copyright law — ley f de propiedad intelectual
['kɒpɪraɪt]copyright library — biblioteca f de depósito legal
1.2."copyright reserved" — "es propiedad", "copyright"
3.* * *mass noun copyright m, derechos mpl de reproducción; (before n)copyright law — ley f de propiedad intelectual
copyright library — biblioteca f de depósito legal
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19 feeling
1) (power and ability to feel: I have no feeling in my little finger.) sensibilidad2) (something that one feels physically: a feeling of great pain.) sensación3) ((usually in plural) something that one feels in one's mind: His angry words hurt my feelings; a feeling of happiness.) sentimiento4) (an impression or belief: I have a feeling that the work is too hard.) impresión5) (affection: He has no feeling for her now.) afecto6) (emotion: He spoke with great feeling.) emoción, sentimientofeeling n1. sentimiento2. impresióntr['fiːlɪŋ]1 (emotion) sentimiento, emoción nombre femenino2 (sensation) sensación nombre femenino3 (sense) sensibilidad4 (concern) compasión nombre femenino, ternura■ you have no feeling! ¡qué insensible eres!■ I have the feeling that... tengo la impresión de que...6 (artistic) sensibilidad nombre femenino, talento7 (opinion) sentir nombre masculino, opinión nombre femenino, actitud nombre femenino, parecer nombre masculino■ my own feeling is that... en mi opinión...■ the general feeling was... la opinión general era...8 (atmosphere) ambiente nombre masculino1 sensible, compasivo,-a1 sentimientos nombre masculino plural■ you hurt my feelings me has herido los sentimientos, me has ofendido\SMALLIDIOMATIC EXPRESSION/SMALLI know the feeling te entiendo perfectamenteno hard feelings familiar no nos guardemos rencorto have a feeling for something tener sensibilidad por algoto have mixed feelings tener sentimientos enfrentadosbad feeling / ill feeling resentimiento, rencor nombre masculinofeeling ['fi:lɪŋ] n1) sensation: sensación f, sensibilidad f2) emotion: sentimiento m3) opinion: opinión f4) feelings nplsensibilities: sentimientos mplto hurt someone's feelings: herir los sentimientos de alguienadj.• sensible adj.n.• actitud s.f.• atmósfera s.f.• entraña s.f.• parecer s.m.• presentimiento s.m.• sensación s.f.• sensibilidad s.f.• sentimiento s.m.• sentir s.m.• tacto s.m.'fiːlɪŋ1)a) u ( physical sensitivity) sensibilidad fb) c (physical, emotional sensation) sensación f2)a) u ( sincere emotion) sentimiento mbad o ill feeling — resentimiento m
b) feelings pl ( sensitivity) sentimientos mplto hurt somebody's feelings — herir* los sentimientos de algn
no hard feelings: one of us had to win; no hard feelings, eh? — uno de los dos tenía que ganar; no nos guardemos rencor ¿eh?
3) c u ( opinion) opinión fwhat are your feelings on the matter? — ¿tú que opinas del asunto?
4) (no pl)a) (sensitivity, appreciation)(to have) a feeling for something — tener* sensibilidad para algo, saber* apreciar algo
b) (intuition, impression) impresión f, sensación fI've a feeling that he knows already — tengo or me da la sensación or la impresión de que ya lo sabe
['fiːlɪŋ]N1) (physical) sensación fto have no feeling in one's arm, have lost all feeling in one's arm — no sentir un brazo
2) (=emotion) sentimiento mbad or ill feeling — rencor m, hostilidad f
to speak/sing with feeling — hablar/cantar con sentimiento
3) feelings sentimientos mpl•
to appeal to sb's finer feelings — apelar a los sentimientos nobles de algn•
no hard feelings! — ¡todo olvidado!•
to have feelings for sb — querer a algn•
to hurt sb's feelings — herir los sentimientos de algn, ofender a algn•
you can imagine my feelings! — ¡ya te puedes imaginar cómo me sentía!•
feelings ran high about it — causó mucha controversia•
to relieve one's feelings — desahogarsefine I, 1., 3)•
to spare sb's feelings — no herir los sentimientos de algn4) (=impression) impresión f, sensación fa feeling of security/isolation — una sensación de seguridad/aislamiento
I have a (funny) feeling that... — tengo la (extraña) sensación de que...
I get the feeling that... — me da la impresión de que...
5) (=opinion) opinión fthere was a general feeling that... — la opinión general era que...
what are your feelings about the matter? — ¿qué opinas tú del asunto?
my feeling is that... — creo que...
6) (=sensitivity) sensibilidad f7) (=aptitude)* * *['fiːlɪŋ]1)a) u ( physical sensitivity) sensibilidad fb) c (physical, emotional sensation) sensación f2)a) u ( sincere emotion) sentimiento mbad o ill feeling — resentimiento m
b) feelings pl ( sensitivity) sentimientos mplto hurt somebody's feelings — herir* los sentimientos de algn
no hard feelings: one of us had to win; no hard feelings, eh? — uno de los dos tenía que ganar; no nos guardemos rencor ¿eh?
3) c u ( opinion) opinión fwhat are your feelings on the matter? — ¿tú que opinas del asunto?
4) (no pl)a) (sensitivity, appreciation)(to have) a feeling for something — tener* sensibilidad para algo, saber* apreciar algo
b) (intuition, impression) impresión f, sensación fI've a feeling that he knows already — tengo or me da la sensación or la impresión de que ya lo sabe
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20 gift
ɡift
1. noun1) (something given willingly, eg as a present: a birthday gift.) presente, regalo, obsequio2) (a natural ability: She has a gift for music.) don, talento
2. verb(to give or present as a gift: This painting was gifted by our former chairman.) obsequiar, regalar- gifted- gift of the gab
gift n1. regalo / obsequio2. talento / dontr[gɪft]1 (present) regalo, obsequio2 (talent) don nombre masculino3 SMALLRELIGION/SMALL ofrenda4 SMALLLAW/SMALL donación nombre femenino\SMALLIDIOMATIC EXPRESSION/SMALLto have the gift of the gab tener un pico de orogift shop tienda de artículos de regalogift ['gɪft] n1) talent: don m, talento m, dotes fpl2) present: regalo m, obsequio mn.• don s.m.• donativo s.m.• dote s.m.• dádiva s.f.• obsequio s.m.• oferta s.f.• ofrenda s.f.• regalo s.m.• talento s.m.v.• dotar v.gɪft1) ( present) regalo m, obsequio m (frml)it was a gift — me lo regalaron, es un regalo
it's a gift at that price — a ese precio es una ganga or un regalo (fam)
a gift from the gods — un regalo del cielo
never look a gift horse in the mouth — a caballo regalado no le mires el diente or no se le miran los dientes; (before n) < shop> de novedades, de artículos para regalo
2) ( talent) don m[ɡɪft]to have a gift for something/-ING: she has a gift for poetry tiene talento para la poesía; he has a gift for making people laugh tiene el don de saber hacer reír a la gente; to have the gift of the gab o (AmE also) the gift of gab — (colloq) tener* mucha labia (fam), tener* un pico de oro (fam)
1. Nit's a gift! * — (=very cheap) ¡es una ganga!; (=very easy) es pan comido, ¡está tirado! *
2) (=talent) don m, talento mgab3) (=power to give)the office is in the gift of... — el cometido está en manos de...
2.VT dar, donar; (Sport) [+ goal] regalar3.CPDgift certificate N (US) — = gift token
gift coupon N — cupón m de regalo
gift shop, gift store (US) N — tienda f de regalos
gift token, gift voucher N — vale-obsequio m
* * *[gɪft]1) ( present) regalo m, obsequio m (frml)it was a gift — me lo regalaron, es un regalo
it's a gift at that price — a ese precio es una ganga or un regalo (fam)
a gift from the gods — un regalo del cielo
never look a gift horse in the mouth — a caballo regalado no le mires el diente or no se le miran los dientes; (before n) < shop> de novedades, de artículos para regalo
2) ( talent) don mto have a gift for something/-ING: she has a gift for poetry tiene talento para la poesía; he has a gift for making people laugh tiene el don de saber hacer reír a la gente; to have the gift of the gab o (AmE also) the gift of gab — (colloq) tener* mucha labia (fam), tener* un pico de oro (fam)
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См. также в других словарях:
expression — ex|pres|sion W2S2 [ıkˈspreʃən] n ▬▬▬▬▬▬▬ 1¦(strong feelings/thoughts)¦ 2¦(on somebody s face)¦ 3¦(word/phrase)¦ 4¦(music/acting)¦ 5¦(mathematics)¦ ▬▬▬▬▬▬▬ 1.) ¦(STRONG FEELINGS/THOUGHTS)¦ [U and C] something you say, write, or do that shows what… … Dictionary of contemporary English
expression — ex|pres|sion [ ık spreʃn ] noun *** 1. ) count a look on someone s face that shows what their thoughts or feelings are: expression on: She had a puzzled expression on her face. expression of: I noticed his expression of disgust. 2. ) count or… … Usage of the words and phrases in modern English
expression */*/*/ — UK [ɪkˈspreʃ(ə)n] / US noun Word forms expression : singular expression plural expressions 1) [countable] a word or phrase He uses childish expressions like easy peasy . Avoid colloquial expressions that are out of place in an academic essay. 2)… … English dictionary
Artistic language — An artistic language (artlang) is a constructed language designed for aesthetic pleasure. Unlike engineered languages or auxiliary languages, artistic languages usually have irregular grammar systems, much like natural languages. Many are… … Wikipedia
expression — noun 1 on sb s face ADJECTIVE ▪ neutral ▪ blank, dazed, glazed, vacant ▪ They all just looked at me with blank expressions. ▪ dea … Collocations dictionary
expression — /Ik spreSFn/ noun 1 WORDS (C) a word or group of words with a particular meaning: The expression in the family way means pregnant . | pardon/forgive/excuse the expression (=used when you have used a word that you think may offend someone): He… … Longman dictionary of contemporary English
expression — [[t]ɪkspre̱ʃ(ə)n[/t]] ♦♦♦ expressions 1) N VAR: usu N of n The expression of ideas or feelings is the showing of them through words, actions, or artistic activities. Laughter is one of the most infectious expressions of emotion... From Cairo came … English dictionary
expression — expressional, adj. expressionless, adj. expressionlessly, adv. /ik spresh euhn/, n. 1. the act of expressing or setting forth in words: the free expression of political opinions. 2. a particular word, phrase, or form of words: old fashioned… … Universalium
expression — /əkˈsprɛʃən / (say uhk spreshuhn), /ɛk / (say ek ) noun 1. the act of expressing or setting forth in words: the expression of opinions; the expression of ideas. 2. a particular word, phrase, or form of words: archaic expressions. 3. the manner or …
Artistic inspiration — Inspiration in artistic composition refers to an irrational and unconscious burst of creativity. Literally, the word means breathed upon, and it has its origins in both Hellenism and Hebraism in the west. In the earliest discussions of… … Wikipedia
expression — An utterance expresses a thought; a cry expresses grief or pain; a poem may express nostalgia or energy. The simplest view would be that any action that makes public or communicates a state of mind thereby expresses it. However, a mere signal… … Philosophy dictionary