-
1 ago
ə'ɡəu(at a certain time in the past: two years ago; Long ago, men lived in caves; How long ago did he leave?) for... sidenadv. \/əˈɡəʊ\/for...sidenA long time ago... Det var en gang...a long time ago for lenge sidenas long ago as så langt tilbake somlong ago lenge siden• how long ago is it that you last met her? -
2 since
1. conjunction1) ((often with ever) from a certain time onwards: I have been at home (ever) since I returned from Italy.) desde que2) (at a time after: Since he agreed to come, he has become ill.) después que3) (because: Since you are going, I will go too.) ya que, puesto que
2. adverb1) ((usually with ever) from that time onwards: We fought and I have avoided him ever since.) desde entonces2) (at a later time: We have since become friends.) desde entonces
3. preposition1) (from the time of (something in the past) until the present time: She has been very unhappy ever since her quarrel with her boyfriend.) desde2) (at a time between (something in the past) and the present time: I've changed my address since last year.) desde3) (from the time of (the invention, discovery etc of): the greatest invention since the wheel.) desdesince1 adv desde entonceshe went to live in Paris 15 years ago and I haven't seen him since se fue a vivir a París hace 15 años, y desde entonces no lo he vuelto a versince2 conj desde quesince3 prep desdetr[sɪns]1 desde entonces■ he left 10 years ago and I haven't seen him since se marchó hace 10 años y desde entonces no lo he visto1 desde■ how long is it since your party? ¿cuánto (tiempo) hace de tu fiesta?■ since when do you call the shots round here? ¿desde cuándo mandas tú por aquí?1 (time) desde que■ since moving here, she's taken up painting desde que se trasladó aquí, ha empezado a pintar■ how long is it since we had a holiday? ¿cuánto hace que no tenemos vacaciones?2 (because, seeing that) ya que, puesto que■ since you're going to the shop... ya que vas a la tienda...■ since you haven't got any money... ya que tú no tienes dinero...since ['sɪnts] adv1) : desde entoncesthey've been friends ever since: desde entonces han sido amigosshe's since become mayor: más tarde se hizo alcalde2) ago: hacehe's long since dead: murió hace muchosince conj1) : desde quesince he was born: desde que nació2) inasmuch as: ya que, puesto que, dado quesince prep: desdeadv.• desde adv.• desde entonces adv.• después adv.conj.• cuando conj.• desde que conj.• pues conj.• puesto que conj.• ya que conj.prep.• a partir de prep.• desde prep.
I sɪns1) ( in time) desde quesince coming to London — desde que vino (or vine etc) a Londres
2) ( introducing a reason)since you can't go, can I have your ticket? — ya que no puedes ir ¿me das tu entrada?
since that is not the case... — como no es así, puesto que no es ése el caso... (frml)
II
preposition desdehow long is it since your operation? — ¿cuánto (tiempo) hace de tu operación?
III
adverb ( from then till now) desde entonces... but she had since remarried —... pero (en el ínterin) ella se había vuelto a casar
[sɪns]long since — (colloq) hace mucho
1.ADV desde entoncesnot long since, a short time since — hace poco
her parents have long since died — sus padres hace tiempo que fallecieron, sus padres fallecieron tiempo ha frm
2.PREP desdeever since then... — desde entonces...
ever since that... — desde aquello...
since that day he has been a changed man — desde or a partir de ese día es un hombre nuevo
how long is it since the accident? — ¿cuánto tiempo ha pasado desde el accidente?
since arriving — desde que llegué, desde mi llegada
3. CONJ1) (=from the time that) desde queit's a week since he left — hace una semana que se fue, se fue hace una semana
2) (=as, because) ya que, puesto que, comosince you can't come — ya que no puedes venir, como no puedes venir, puesto que no puedes venir
since you're tired, let's stay at home — ya que or puesto que or como estás cansado vamos a quedarnos en casa
SINCEsince he is Spanish — ya que or como or puesto que es español, siendo él español frm
Time
► When since is followed by a noun or noun phrase, you can usually translate it as desde:
Spain has changed a lot since Franco's death España ha cambiado mucho desde la muerte de Franco ► When since is followed by a verb phrase, use desde que instead:
Since I saw you a fortnight ago a lot of things have happened Desde que te vi hace quince días han pasado muchas cosas NOTE: Use the {present tense} in Spanish to describe a situation that started in the past and has continued up to now (present perfect or present perfect continuous in English):
I have been here since this morning Estoy aquí or Llevo aquí desde esta mañana
They've been waiting since nine o'clock Están esperando or Llevan esperando desde las nueve
He has been taking more exercise since he talked to his doctor Hace más ejercicio desde que habló con el médico But the perfect tense is used in Spanish when the verb is in the negative:
I haven't seen her since she left No la he visto desde que se fue ► Translate sin ce then {or} ever since using desde entonces:
She came home at five and has been studying ever since Llegó a casa a las cinco y está estudiando desde entonces ► Translate lon g since using hace tiempo (+ que + ((past tense))) or hacía tiempo (+ que + ((past/past perfect))) as relevant:
His wife has long since died Hace tiempo que murió su mujer, Su mujer murió hace tiempo
Meaning "as", "because"
► In formal contexts you can usually translate since using ya que {or} puesto que. In more everyday Spanish, use como, which must go at the beginning of the sentence:
They could not afford the house since they were not earning enough No podían pagar la casa puesto que or ya que no ganaban bastante
Since I hadn't heard from you, I decided to give you a call Como no sabía nada de ti, decidí llamarte For further uses and examples, see main entry* * *
I [sɪns]1) ( in time) desde quesince coming to London — desde que vino (or vine etc) a Londres
2) ( introducing a reason)since you can't go, can I have your ticket? — ya que no puedes ir ¿me das tu entrada?
since that is not the case... — como no es así, puesto que no es ése el caso... (frml)
II
preposition desdehow long is it since your operation? — ¿cuánto (tiempo) hace de tu operación?
III
adverb ( from then till now) desde entonces... but she had since remarried —... pero (en el ínterin) ella se había vuelto a casar
long since — (colloq) hace mucho
-
3 year
noun1) Jahr, dasshe gets £10,000 a year — sie verdient 10 000 Pfund im Jahr
year in year out — jahrein, jahraus
year after year — Jahr für od. um Jahr
all [the] year round — das ganze Jahr hindurch
in a year['s time] — in einem Jahr
once a year, once every year — einmal im Jahr
Christian or Church or ecclesiastical year — (Eccl.) Kirchenjahr, das; liturgisches Jahr (kath. Kirche)
a ten-year-old — ein Zehnjähriger/eine Zehnjährige
a ten-year[s]-old child — ein zehn Jahre altes Kind
in her thirtieth year — in ihrem 30. Lebensjahr
financial or fiscal or tax year — Finanz- od. Rechnungsjahr, das
calendar or civil year — Kalenderjahr, das
school year — Schuljahr, das
for a year and a day — ein Jahr und einen Tag [lang]
a year [from] today — etc. heute usw. in einem Jahr
a year [ago] today — etc. heute usw. vor einem Jahr
... of the year — (best)... des Jahres
take years off somebody/somebody's life — jemanden um Jahre jünger/älter machen; see also academic.ru/9940/by">by I 1. 23); from 2)
2) (group of students) Jahrgang, derfirst-year student — Student/Studentin im ersten Jahr
be getting on/be well on in years — in die Jahre kommen/in vorgerücktem Alter sein (geh.)
* * *[jiə] 1. noun1) (the period of time the earth takes to go once round the sun, about 365 days: We lived here for five years, from November 1968 to November 1973; a two-year delay.) das Jahr2) (the period from January 1 to December 31, being 365 days, except in a leap year, when it is 366 days: in the year 1945.) das Jahr•- yearly2. adverb(every year: The festival is held yearly.) jährlich- year-book- all the year round
- all year round
- long* * *[jɪəʳ, AM jɪr]nit's taken them a \year to get this far sie haben ein Jahr gebraucht, um so weit zu kommenshe got two \years sie bekam zwei Jahre [Gefängnis]it'll be a \year next August kommenden August ist es ein Jahr herin the \year of Our Lord 1492 im Jahre des Herrn 1492how much does he earn a \year? wie viel verdient er im Jahr?calendar \year Kalenderjahr nttwo \years' work zwei Jahre Arbeita \year ago vor einem Jahrall [the] \year round das ganze Jahr überevery other \year alle zwei Jahrelast/next/this \year letztes/nächstes/dieses Jahrhe retires in March of next \year er geht im März nächsten Jahres in Rente\year by \year Jahr für Jahrduring the \year FIN unterjährigfor two \years zwei Jahre langfive times a \year fünfmal im [o pro] Jahrhe dances very well for a man of his \years für einen Mann in seinem Alter tanzt er sehr guta two-\year-old child ein zweijähriges Kind▪ \years pl Jahre pl\year in, \year out Jahr ein, Jahr ausover the \years mit den Jahren, im Laufe der Jahrehe was in my \year at college er war am College in meinem Semestershe was in the \year above [or AM ahead of] /below [or AM behind] me at school/university sie war in der Schule/Uni[versität] ein Jahr/zwei Semester über/unter mira two-/three-\year course ein zwei-/dreijähriger Kursschool \year Schuljahr nta first-/second-\year student ein Student m/eine Studentin im ersten/zweiten Studienjahracademic \year akademisches Jahrthe second-\years BRIT UNIV die Studenten, Studentinnen m, f im zweiten Studienjahr; SCH die Schüler(innen) m(f) der zweiten Klassethe time of the \year die Jahreszeitto be a bad [or poor] /good \year for sth ein schlechtes/gutes Jahr für etw akk sein1988 was an extremely good \year — if you can find a bottle of that, buy it 1988 war ein äußerst gutes Jahr — wenn du eine Flasche davon finden kannst, kaufe sie6.▶ to put \years on sb jdn um Jahre älter machen▶ to take \years off sb jdn jünger wirken lassen* * *[jɪə(r)]n1) Jahr ntthis/last year — dieses/letztes Jahr
three times a year — dreimal pro or im Jahr
in the year 1989 —
year by year, from year to year — von Jahr zu Jahr
year in, year out — jahrein, jahraus
all (the) year round — das ganze Jahr über or hindurch
as (the) years go by — mit den Jahren
it'll be a year in or next January (duration) — es wird nächsten Januar ein Jahr sein; (point in time) es wird nächsten Januar ein Jahr her sein
a hundred-year-old tree —
a hundred-year-old tree — ein hundert Jahre alter Baum, ein hundertjähriger Baum
he is in his fortieth year — er steht (geh) or ist im vierzigsten Lebensjahr
he gets £23,000 a year — er bekommt £ 23.000 jährlich or pro Jahr or im Jahr
I haven't laughed so much in years — ich habe schon lange nicht mehr so gelacht
that new hairdo has taken years off you (inf) — diese neue Frisur macht dich um Jahre jünger
it's taken years off my life — es hat mich Jahre meines Lebens gekostet
2) (UNIV, SCH of coin, stamp, wine) Jahrgang mthe 2001/02 academic year —
he is bottom in his year (Univ, Sch) — er ist der Schlechteste seines Jahrgangs or in seinem Jahrgang
first-year student, first year — Student(in) m(f) im ersten Jahr
3)he looks old for his years — er sieht älter aus als er ist
* * *1. Jahr n:this year’s winner der (die) diesjährige Sieger(in);three-year contract Dreijahresvertrag m;many years’ experience langjährige Erfahrung;after two years of marriage nach zwei Ehejahren;for a year and a day JUR auf Jahr und Tag;a) jahrelang, seit Jahren,b) auf Jahre hinaus;year in, year out jahraus, jahrein;year by year, from year to year, year after year Jahr für Jahr;in the year one hum vor undenklichen Zeiten;not in years seit Jahren nicht (mehr);since the year dot umg seit einer Ewigkeit;twice a year zweimal jährlich oder im Jahr;take years off sb jemanden um Jahre jünger machen oder aussehen lassen; → old A 2, over A 11, service1 A 12. (Kalender-, Kirchen- etc) Jahr n:3. pl Alter n:4. SCHULE, UNIV Jahrgang m:5. ASTRON Umlaufzeit f, Periode f (eines Planeten)y. abkyr abk2. younger3. your* * *noun1) Jahr, dasshe gets £10,000 a year — sie verdient 10 000 Pfund im Jahr
year in year out — jahrein, jahraus
year after year — Jahr für od. um Jahr
all [the] year round — das ganze Jahr hindurch
in a year['s time] — in einem Jahr
once a year, once every year — einmal im Jahr
Christian or Church or ecclesiastical year — (Eccl.) Kirchenjahr, das; liturgisches Jahr (kath. Kirche)
a ten-year-old — ein Zehnjähriger/eine Zehnjährige
a ten-year[s]-old child — ein zehn Jahre altes Kind
in her thirtieth year — in ihrem 30. Lebensjahr
financial or fiscal or tax year — Finanz- od. Rechnungsjahr, das
calendar or civil year — Kalenderjahr, das
school year — Schuljahr, das
for a year and a day — ein Jahr und einen Tag [lang]
a year [from] today — etc. heute usw. in einem Jahr
a year [ago] today — etc. heute usw. vor einem Jahr
... of the year — (best)... des Jahres
take years off somebody/somebody's life — jemanden um Jahre jünger/älter machen; see also by I 1. 23); from 2)
2) (group of students) Jahrgang, derfirst-year student — Student/Studentin im ersten Jahr
3) in pl. (age)be getting on/be well on in years — in die Jahre kommen/in vorgerücktem Alter sein (geh.)
* * *n.Jahr -e n. -
4 year
[jɪəʳ, Am jɪr] nit's taken them a \year to get this far sie haben ein Jahr gebraucht, um so weit zu kommen;she got two \years sie bekam zwei Jahre [Gefängnis];it'll be a \year next August kommenden August wird es ein Jahr;in the \year of Our Lord 1492 im Jahre des Herrn 1492;how much does he earn a \year? wie viel verdient er im Jahr?;calendar \year Kalenderjahr nt;two \years' work zwei Jahre Arbeit;a \year ago vor einem Jahr;all [the] \year round das ganze Jahr über;every other \year alle zwei Jahre;he retires in March of next \year er geht im März nächsten Jahres in Rente;\year by \year Jahr für Jahr;for two \years zwei Jahre lang;five times a \year fünfmal im [o pro] Jahr2) (age, time of life) [Lebens]jahr nt;he dances very well for a man of his \years für einen Mann in seinem Alter tanzt er sehr gut;a two-\year-old child ein zweijähriges Kind\year in, \year out Jahr ein, Jahr aus;for \years ( since a long time ago) seit Jahren;( regularly) regelmäßig;( for a long time) jahrelang;over the \years mit den Jahren, im Laufe der Jahrehe was in my \year at college er war am College in meinem Semester;she was in the \year above [or (Am) ahead of] / below [or (Am) behind] me at school/ university sie war in der Schule/Uni[versität] ein Jahr/zwei Semester über/unter mir;a two-/three-\year course ein zwei-/dreijähriger Kurs;school \year Schuljahr nt;academic \year akademisches Jahr;the second-\years ( Brit) univ die Studenten mpl /Studentinnen fpl; im zweiten Studienjahr sch die Schüler mpl /Schülerinnen fpl der zweiten Klassethe time of the \year die Jahreszeit;1988 was an extremely good \year - if you can find a bottle of that, buy it 1988 war ein äußerst gutes Jahr - wenn du eine Flasche davon finden kannst, kaufe siePHRASES:to put \years on sb jdn um Jahre älter machen;to take \years off sb jdn jünger wirken lassen -
5 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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