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1 artistic
adjective1) (of art) Kunst-; künstlerischartistic movement — Kunstrichtung, die
2) (of artists) Künstler-; künstlerisch3) (made with art) kunstvoll; Kunst-a truly artistic piece of poetry/writing — ein dichterisches/schriftstellerisches Kunstwerk
4) (naturally skilled in art) künstlerisch begabt5) (appreciative of art) kunstverständigartistic sense — Kunstverständnis, das
* * *1) (liking or skilled in painting, music etc: She draws and paints - she's very artistic.) künstlerisch begabt2) (created or done with skill and good taste: That flower-arrangement looks very artistic.) künstvoll* * *ar·tis·tic[ɑ:ˈtɪstɪk, AM ɑ:rˈ-]1. (skilled at art) kreativ\artistic ability künstlerische Fähigkeit\artistic arrangement kunstvolles Arrangement\artistic style/taste Kunststil m/-geschmack m\artistic temperament künstlerische Veranlagung2. (relating to art) künstlerisch\artistic circles Künstlerkreise pl\artistic director künstlerischer Leiter/künstlerische Leiterin* * *[Aː'tIstɪk]adjkünstlerisch; (= tasteful) arrangements kunstvoll; (= appreciative of art) person kunstverständig or -sinnig (geh)she's very artistic — sie ist künstlerisch veranlagt or begabt/sehr kunstverständig
* * *1. Kunst…, Künstler…, künstlerisch:artistic freedom künstlerische Freiheit;artistic impression (Eis-, Rollkunstlauf) künstlerischer Eindruck;artistic works Kunstwerke;artistically gifted künstlerisch begabt oder veranlagt2. künstlerisch:a) kunstvoll, geschmackvollb) kunstverständigc) Bohemien…, Künstler…* * *adjective1) (of art) Kunst-; künstlerischartistic movement — Kunstrichtung, die
2) (of artists) Künstler-; künstlerisch3) (made with art) kunstvoll; Kunst-a truly artistic piece of poetry/writing — ein dichterisches/schriftstellerisches Kunstwerk
4) (naturally skilled in art) künstlerisch begabt5) (appreciative of art) kunstverständigartistic sense — Kunstverständnis, das
* * *adj.kunstvoll adj.künstlerisch adj. -
2 Negreiros, José Sobral de Almada
(1893-1970)Portuguese artist and writer. Born on the island of São Tomé, West Africa, a Portuguese colonial possession until 1975, Almada Ne-greiros began his artistic career as a humorist and cartoonist during the First Republic (1910-26). Linked with other writers, such as the celebrated Fernando Pessoa in the Orpheu review group, he became a leader of the avant garde artists-intellectuals who became cultural rebels through their art (especially painting and sculpture) and their writings. From the beginning, he became a leader in Portugal's modernist and futurist movements, and his sense of Portuguese identity and artistic taste was shaped in part by two important journeys to Madrid and Paris before 1930.Almada Negreiros was a versatile artist who expressed himself through a variety of creative works: drawings and paintings, novels, lectures, and pamphlets. In Portuguese art history, nevertheless, he became immortalized through his paintings of frescos and murals, such as the pictures found in A Brasileira, a legendary cafe in Lisbon's Chiado area; his paintings at the Exposition of the Portuguese World (1940); his murals at maritime stations at Alcântara (Lisbon) and Rocha do Conde De Óbidos, as well as in other public buildings; and a prominent panel in the atrium of the Gulbenkian Foundation headquarters, Lisbon, completed in 1969, the year before his death. In addition to other forms, he experimented with geometric abstractionism.Politically at odds with the Estado Novo toward the end of his life, Almada Negreiros remained ambivalent when his work was showered with official honors.Historical dictionary of Portugal > Negreiros, José Sobral de Almada
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3 taste
taste [teɪst]goût ⇒ 1 (a), 1 (b), 1 (d), 1 (e) saveur ⇒ 1 (b) bouchée ⇒ 1 (c) goutte ⇒ 1 (c) aperçu ⇒ 1 (f) sentir ⇒ 2 (a) goûter à ⇒ 2 (b), 2 (d) manger ⇒ 2 (c) boire ⇒ 2 (c)1 noun∎ to lose one's sense of taste perdre le goût, specialist term être atteint d'agueusie;∎ to be sweet/salty to the taste avoir un goût sucré/salé∎ these apples have a lovely/strange taste ces pommes sont délicieuses/ont un drôle de goût;∎ this cheese doesn't have much taste ce fromage n'a pas beaucoup de goût ou est assez fade;∎ the cake has a taste of almonds/a burnt taste le gâteau a un goût d'amandes/de brûlé;∎ add sugar to taste ajouter du sucre à volonté;∎ to leave a bad taste in the mouth (food) laisser un mauvais goût dans la bouche; figurative laisser un mauvais souvenir ou un goût amer∎ can I have a taste of the chocolate cake? est-ce que je peux goûter au gâteau au chocolat?;∎ would you like (to have) a taste? voulez-vous goûter?(d) (liking, preference) goût m, penchant m;∎ to have expensive/simple tastes avoir des goûts de luxe/simples;∎ to develop a taste for sth prendre goût à qch;∎ to have a taste for sth avoir un penchant ou un faible pour qch;∎ it's a matter of taste c'est (une) affaire de goût;∎ musical/artistic tastes goûts mpl musicaux/artistiques;∎ I don't share his taste in music je ne partage pas ses goûts en (matière de) musique, nous n'avons pas les mêmes goûts en (matière de) musique;∎ is it to your taste? est-ce à votre goût?, est-ce que cela vous convient?, cela vous plaît?;∎ did you find it to your taste? l'avez-vous trouvé à votre goût?(e) (discernment) goût m;∎ to have good taste avoir du goût, avoir bon goût;∎ they have no taste ils n'ont aucun goût;∎ she has good taste in clothes elle s'habille avec goût;∎ they don't have much taste when it comes to art en matière d'art, ils n'ont pas beaucoup de goût;∎ the joke was in extremely bad taste la plaisanterie était de très mauvais goût;∎ it's bad taste to ask personal questions il est de mauvais goût de poser des questions indiscrètes∎ to have a taste of freedom/happiness avoir un aperçu de la liberté/du bonheur;∎ the sweet taste of success les joies fpl ou les délices fpl de la réussite;∎ he's already had a taste of prison life il a déjà tâté ou goûté de la prison;∎ the experience gave me a taste of life in the army l'expérience m'a donné un aperçu de la vie militaire;∎ to give sb a taste of the whip faire tâter du fouet à qn;∎ a taste of things to come un avant-goût de l'avenir(a) (flavour, ingredient) sentir (le goût de);∎ can you taste the brandy in it? est-ce que vous sentez le (goût du) cognac?;∎ you can hardly taste the mint on sent à peine (le goût de) la menthe∎ have you tasted the sauce? avez-vous goûté (à) la sauce?;∎ I've never tasted oysters before je n'ai jamais mangé d'huîtres;∎ you don't often get a chance to taste such good wine on n'a pas souvent l'occasion de boire un aussi bon vin(d) (experience → happiness, success) goûter, connaître∎ (food) to taste good/bad avoir bon/mauvais goût;∎ to taste salty avoir un goût salé;∎ to taste funny avoir un drôle de goût;∎ it tastes fine to me moi je trouve ça bon;∎ it tastes like chicken cela a un goût de poulet;∎ to taste of sth avoir le ou un goût de qch;∎ it doesn't taste of anything cela n'a aucun goût►► taste bud papille f gustative -
4 Intellectuals
There is a line among the fragments of the Greek poet Archilochus which says: "The fox knows many things, but the hedgehog knows one big thing." Scholars have differed about the correct interpretation of these dark words, which may mean no more than that the fox, for all his cunning, is defeated by the hedgehog's one defence. But, taken figuratively, the words can be made to yield a sense in which they mark one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general. For there exists a great chasm between those, on one side, who relate everything to a single central vision, one system, less or more coherent or articulate, in terms of which they understand, think and feel-a single, universal, organising principle in terms of which alone all that they are and say has significance-and, on the other side, those who pursue many ends, often unrelated and even contradictory, connected, if at all, only in some de facto way, for some psychological or physiological cause, related by no moral or aesthetic principle.... The first kind of intellectual and artistic personality belongs to the hedgehogs, the second to the foxes; and without insisting on a rigid classification, we may, without too much fear of contradiction, say that, in this sense, Dante belongs to the first category, Shakespeare to the second; Plato, Lucretius, Pascal, Hegel, Dostoevsky, Nietsche, Ibsen, [and] Proust are, in varying degrees hedgehogs; Herodotus, Aristotle, Montaigne, Erasmus, Molie`re, Goethe, Pushkin, Balzac, [and] Joyce are foxes. (Berlin, 1953, pp. 1-2; Archilochus, 1971, frag. 201)Historical dictionary of quotations in cognitive science > Intellectuals
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5 taste
teɪst
1. сущ.
1) а) вкус (как одно из чувств, как само ощущение, как свойство чего-л., чему присуще такое ощущение) to leave a taste ≈ оставить какой-л. вкус The fruit left a pleasant taste in my mouth. ≈ Во рту остался приятный вкус от фрукта. The whole affair left a bitter taste in my mouth. ≈ В душе остался неприятный осадок от всего происшедшего. bitter taste ≈ горький вкус/привкус mild taste ≈ мягкий вкус/привкус nice taste, pleasant taste, sweet taste ≈ приятный вкус/привкус sour taste ≈ кислый вкус/привкус strong taste ≈ сильный привкус, стойкий вкус/привкус б) немного, чуточку, так, чтобы попробовать;
перен. представление, первое знакомство( с чем-л.) Give me a taste of the pudding. ≈ Дайте мне кусочек пудинга. to have a taste of skin-diving ≈ иметь представление о плавании под водой
2) а) вкус, понимание;
манера, стиль to acquire, cultivate, develop a taste ≈ прививать вкус, развивать вкус to demonstrate, display, show a taste ≈ проявить вкус, продемонстрировать вкус to develop a taste for music ≈ развивать любовь к музыке They showed good taste in planning the decor. ≈ Они показали хороший вкус в оформлении помещений. Everything was done in good taste. ≈ Все было сделано со вкусом. acquired taste ≈ приобретенный вкус artistic taste ≈ артистические наклонности bad taste ≈ безвкусица, дурной тон discriminating taste, elegant taste, excellent taste, exquisite taste, good taste ≈ тонкий вкус, хороший вкус Baroque taste ≈ стиль барокко б) склонность, пристрастие( for - к чему-л.)
2. гл.
1) а) (по) пробовать (на вкус), отведать to taste of danger ≈ подвергнуться опасности б) различать на вкус в) иметь вкус, привкус the food taste s of garlic ≈ в пище чувствуется привкус чеснока the food tastes good ≈ вкусная еда
2) перен. пережить, испытать, вкусить ∙ taste of вкус (чувство) - keen *, keen sense of * обостренная способность чувствовать вкус (пищи) - out of * неспособный различить вкус - nice to the * приятный на вкус - to add pepper to * добавить перца по вкусу вкус (свойство пищи) - sweet * сладкий вкус - сhocolate * вкус шоколада - to have a nice * быть приятным на вкус - to have no * быть безвкусным - to leave a bad * in the mouth оставить дурной вкус во рту;
оставить неприятное впечатление;
вызвать отвращение - to distinguish types of oranges by their * различать апельсины по вкусу вкус, понимание - true * безошибочный вкус - a man of * человек со вкусом - an education in * воспитание вкуса - in (good) *, with * со вкусом - in bad * безвкусно - to dress in good * одеваться со вкусом - to have a fine * in pictures тонко разбираться в живописи - to smb.'s * в чьем-л. вкусе - not at all to my * совсем не в моем вкусе - he found it to his * это пришлось ему по вкусу - this is a matter of * это дело вкуса - *s differ, there is no accounting for *s, everyone to his * о вкусах не спорят;
у каждого свой вкус такт - in bad * бестактно, неуместно - the remark was in bad * замечание было неуместным - it would be in bad * to refuse отказываться неудобно, отказ был бы бестактностью склонность;
влечение, пристрастие - to have a * for smth. иметь склонность к чему-л. - to acquire a * for smth. пристрститься к чему-л. - to follow one's natural *s удовлетворять свои природные склонности;
следовать своим естествденным влечениям - suit your own * делай, как тебе хочется стиль, манера - in the Moorish * в мавританском стиле проба;
глоточек;
кусочек - to have just a * of smth. попробовать что-л. - to have a * of claret (только) пригубить бордо - won't you have a * of this cake? попробуйте этого пирога немного, чуточка;
примесь, привкус - not a * of food in the house в доме не крошки - there was a * of irritation in his remark в его замечании сквозило раздражение представление;
образчик - to get a * of smb.'s skill получить предствление о чьем-л. мастерстве - give him a * of the whip дай ему отведать кнута - he has already had a * of prison он уже отведал тюрьмы, ону уже знает, что такое тюрьма;
он уже побывал за решеткой кухня, набор национальных блюд - the * of France французская кухня (устаревшее) проба, опробование пробовать, отведать - won't you * this jam? отведайте этого варенья дегустировать - to * wines дегустировать вина иметь вкус - to * sour быть кислым на вкус - to * of nothing at all быть соврешенно безвкусным - it *s like gin по вкусу похоже на джин иметь привкус;
отдавать( чем-л.) - to * of garlic отдавать чесноком различать на вкус - to * pepper in the dressing чувствовать перец в приправе чувствовать вкус - I have a bad cold and cannot * из-за насморка я не чувствую вкуса (пищи) есть, пить( особ. немного) - not to * ничего не попробовать, ничего не съесть - he hasn't *d food for two days два дня у него маковой росинки во рту не было - the children barely *d their breakfast дети почти не прикоснулись к завтраку (устаревшее) отведать, откушать - to * the joys of freedom вкусить счастье свободной жизни - to * power узнать вкус власти( устаревшее) вкусить, познакомиться;
испытать, познать на своем опыте - to fame вкусить славы - to * of danger подвергнуться опасности - to * of death посмотреть смерти в глаза содержать в себе элемент( чего-л.) ;
отдавать;
чувствоваться - a sharp word that *s of envy резкие слова, в которых чувствуется зависть( редкое) придавать вкус( устаревшее) иметь вкус, склонность > to * blood испытать новое чувство;
испытать острое наслаждение ~ манера, стиль;
the Baroque taste стиль барокко consumer ~ потребительский вкус taste вкус, понимание;
to dress in good (bad) taste одеваться со вкусом (безвкусно) ~ немного, чуточка;
кусочек, глоточек (на пробу) ;
give me a taste of the pudding дайте мне кусочек пудинга to have a ~ for music иметь склонность к музыке;
tastes differ, there is no accounting for tastes о вкусах не спорят ~ представление;
первое знакомство (с чем-л.) ;
to have a taste of skindiving иметь представление о плавании под водой to leave a bad ~ in the mouth оставить дурной вкус во рту;
перен. оставить неприятное впечатление ~ склонность, пристрастие (for - к чему-л.) ;
she has expensive tastes in clothes она любит носить дорогие вещи ~ иметь вкус, привкус;
to taste sour быть кислым на вкус, иметь кислый вкус;
the soup tastes of onions в супе (очень) чувствуется лук ~ вкус (чувство) ;
sour to the taste кислый на вкус taste вкус, понимание;
to dress in good (bad) taste одеваться со вкусом (безвкусно) ~ вкус (отличительная особенность пищи) ;
this medicine has no taste это лекарство безвкусно ~ вкус (чувство) ;
sour to the taste кислый на вкус ~ вкус ~ иметь вкус, привкус;
to taste sour быть кислым на вкус, иметь кислый вкус;
the soup tastes of onions в супе (очень) чувствуется лук ~ манера, стиль;
the Baroque taste стиль барокко ~ немного, чуточка;
кусочек, глоточек (на пробу) ;
give me a taste of the pudding дайте мне кусочек пудинга ~ представление;
первое знакомство (с чем-л.) ;
to have a taste of skindiving иметь представление о плавании под водой ~ (по) пробовать (на вкус) ;
отведать;
перен. вкусить, испытать;
to taste of danger книжн. подвергнуться опасности ~ различать на вкус ~ склонность, пристрастие (for - к чему-л.) ;
she has expensive tastes in clothes она любит носить дорогие вещи ~ (по) пробовать (на вкус) ;
отведать;
перен. вкусить, испытать;
to taste of danger книжн. подвергнуться опасности ~ иметь вкус, привкус;
to taste sour быть кислым на вкус, иметь кислый вкус;
the soup tastes of onions в супе (очень) чувствуется лук to have a ~ for music иметь склонность к музыке;
tastes differ, there is no accounting for tastes о вкусах не спорят to have a ~ for music иметь склонность к музыке;
tastes differ, there is no accounting for tastes о вкусах не спорят ~ вкус (отличительная особенность пищи) ;
this medicine has no taste это лекарство безвкусно -
6 value
1. [ʹvælju:] n1. 1) ценность; важность; полезностьto set a high value on smth. - высоко ценить что-л.; придавать большое значение чему-л.; дорожить чем-л.
to set a low value on smth. - считать несущественным что-л., не придавать большого значения чему-л.
to set too high a value upon smth. - переоценивать что-л.
he had nothing of value to say - он не сказал ничего интересного /существенного/
2) pl ценностиmoral [artistic, cultural] values - моральные [художественные, культурные] ценности
sense of values - моральные критерии; этическое сознание; представление о добре и зле
to seek material values instead of human - стремиться к материальным, а не к общечеловеческим ценностям
2. значение, смысл ( слова)the word is used with all its poetic value - слово используется во всей его поэтической силе
3. ценность, стоимостьto pay the value of lost property - полностью возместить стоимость утраченного имущества
value journey - путешествие, оправдывающее затраты
he gives you value for your money - за ваши деньги вы получаете от него хороший товар; ≅ сделка выгодна
he got good value for his money - он удачно /недорого/ купил (что-л.)
4. 1) эк. цена; стоимость ( в денежном выражении)value letter [parcel] - ценное письмо [-ая посылка]
commercial value - рыночная стоимость; продажная цена
market value - а) курсовая стоимость; б) рыночная стоимость
nominal /par, face/ value - нарицательная цена; номинальная стоимость, номинал [ср. тж. ♢ ]
current values - а) существующие цены; б) текущие показатели
to lose /to fall, to go down/ in value - упасть в цене
jewels to the value of four thousand dollars - драгоценности стоимостью в 4 тысячи долларов
2) полит.-эк. стоимостьvalue date - а) срок векселя; б) дата зачисления денег на банковский счет
5. спец. величина, значениеabsolute [actual, average, negative] value - абсолютная [истинная, средняя, отрицательная] величина, абсолютное [истинное, среднее, отрицательное] значение
initial value - исходная величина; данное значение
crest /peak/ value - а) амплитуда; б) амплитудное, пиковое значение
numerical value - мат. численное значение
Greenwich value - геогр. долгота от Гринвичского меридиана
field values - полевые данные, данные полевого журнала
to throw away a value - пренебречь какой-л. величиной
6. муз. длительность ноты или паузы7. иск. валёр; соотношение тоновvalue of colour, colour value - интенсивность цвета; насыщенность цветового тона
out of value - а) слишком темно; б) слишком светло
8. фон. качествоacute accent has not always the same value - острое ударение не всегда одного качества
2. [ʹvælju:] v♢
to accept smth. at face value - принимать что-л. за чистую монету; понимать буквально /в буквальном смысле слова/ [ср. тж. 4, 1)]1. оценивать, давать оценку ( в денежном выражении)to value a house at £800 - оценить дом в 800 ф.ст.
I do not value that a brass farthing - ≅ по-моему, это гроша ломаного не стоит
2. оценивать, определять значение, полезность и т. п.3. дорожить, ценитьto value oneself on /upon, for/ smth. - гордиться /кичиться/ чем-л.
to value smth. above rubies - ценить что-л. дороже золота
I value your friendship - я ценю вашу дружбу, я дорожу дружбой с вами
4. фин. трассировать, выставлять вексель или траттуto value on a person - трассировать на кого-л.; выставить вексель или тратту на кого-л.
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7 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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8 aesthetic
1. n художественные взгляды2. a эстетический3. a чувствующий красоту, имеющий развитой вкус4. a чувственныйСинонимический ряд:1. cultured (adj.) critical; cultivated; cultured; discriminating; inventive; polished; refined2. tasteful (adj.) appreciative; artistic; beautiful; elegant; exquisite; pleasing; tastefulАнтонимический ряд:gauche; insensitive -
9 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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