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1 beyond human strength
beyond human (my) strength свыше человеческих (моих) силEnglish-Russian combinatory dictionary > beyond human strength
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2 ♦ strength
♦ strength /strɛŋɵ/n.1 [u] forza; energia; potenza; resistenza; robustezza; solidità; vigore: at full strength, con gli effettivi al completo; a pieno organico; below strength, con gli effettivi ridotti; sotto organico; to gain strength, acquistare forza; rafforzarsi: to gain strength after an illness, riacquistare le forze dopo una malattia; The market is gaining strength, il mercato si va rafforzando; to regain strength, riacquistare le forze; rimettersi; ristabilirsi; to sap sb. 's strength, stremare q.; That is beyond human strength, ciò supera le forze umane; the strength of a belt, la resistenza (o la solidità) d'una cinghia; strength of body, forza fisica; strength of mind (o strength of spirit) forza d'animo; inner strength, forza interiore; physical strength, forza fisica; the strength of a cup of coffee, la forza d'una tazza di caffè NOTA D'USO: - force o strength?-2 [u] (fis., mecc.) resistenza: breaking strength, resistenza alla rottura; elastic strength, resistenza elastica; tensile strength, resistenza alla trazione6 ( anche mil.) forze; potenziale; organico; effettivi, quadri: Their strength on the battlefield strength was greater than ours, sul campo di battaglia le loro forze erano superiori alle nostre● to get one's strength up, rimettersi in forze □ to go from strength to strength, essere in costante miglioramento (o crescita) □ on the strength of, in forza di; in base a; contando su: I did it on the strength of your promise, lo feci contando sulla tua promessa □ (mil.) to strike sb. off the strength, radiare q. dai ranghi □ (mil.) to be taken on the strength, esser preso in forza □ (mil.) up to strength, con gli effettivi al completo. -
3 strength
[streŋθˌ strenθ]n1) сила, поддержка, власть, сильная сторона, прочность, мощностьIt is beyond my strength/it is too much for my strength. — Это мне не по силам.
Our strength lies in our unity. — Наша сила в единстве.
He was restored to health and strength. — Он восстановил себе здоровье и силу.
- necessary strengthto be under below strength — ◊ быть не в полном составе
- unusual strength
- inner strength
- financial strength
- one's mental strength
- tensile strength
- compressive strength
- strength of an engine
- strength of a rope
- strength of acid
- strength of tea
- strength of the current
- strength of colours
- strength of the pulse
- strength of mind
- strength of an argument
- strength of grasp
- real strength and backbone of the country
- strength of an ordinary man
- show of strength
- man of great physical strength
- question of sheer strength
- test of strength
- battalion in full strength
- with all one's strength
- beyond human strength
- by sheer strength
- by virtue as their united strength
- on the strength of his promise
- acquire strength
- add to smb's strength
- add strength to his arguments
- belittle smb's strength
- borrow strength from theit friendship
- bring all one's strength into play
- concentrate one's strength on smth
- develop the strength of one's fingers
- do smth by one's own strength
- equal smb in strength
- exceed one's strength
- feel smb's strength
- find strength- gain in strength- gather strength
- not to have strength to raise one's head from the pillow
- have no strength left
- lose strength
- join one's phisical strength with that of the mind
- match one's strength against smb's
- pick up regain strength
- build up strength
- save one's strength
- summon strength
- unite smb's strength
- use one's strength2) численность, сила (войск)The police force is 200 men below strength. — Полиции не хватает двухсот сотрудников.
This party had little strength. — Эта партия пользовалась поддержкой небольшого числа народа.
- military strength- main strength
- army strength
- fleet's combat strength
- numerical strength
- peace strength of 4000 men
- nation's strength at sea
- armed strength of the country
- troops in sufficient strength
- bring the regiment to its normal strength
- build up one's strength
- increase the strength of the army•CHOICE OF WORDS: -
4 strength
kraft--------makt--------styrkesubst. \/streŋθ\/1) styrke, kraft2) ( overført) styrke, sterk side3) kraft, krefter4) styrke, styrkegrad5) styrke, fasthet, holdbarhet6) ( om bemanning) styrke, antall7) ( handel) soliditetbe below strength være underbemannetbe in full strength eller be up to strength være fulltalligbe on the strength ( militærvesen) stå rulleførtbe unsparing of one's strength ikke spare på kreftenebeyond human strength utenfor menneskelig maktbring up to strength gjøre fulltalligfrom strength i en sterk posisjongain\/recover strength samle krefter, hente kreftergo from strength to strength bli bedre og bedre gå sin seiersgang, gå fra seier til seierin (great) strength i stort antallone's strength is flagging ens krefter begynner å avta(up)on the strength of med støtte av, i kraft avpå (grunn av)strength of will viljestyrketry one's strength at prøve kreftene sine på, måle kreftene sine motturn out in strength møte mannssterkt fremultimate tensile strength ( teknikk) maksimal strekkfasthet -
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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6 superhuman
[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) overmenneskelig* * *[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) overmenneskelig -
7 superhuman
su:pə'hju:mən(divine, or beyond what is human: superhuman powers; a man of superhuman strength.) sobrehumanotr[sʊːpə'hjʊːmən]1 sobrehumano,-asuperhuman [.su:pər'hju:mən] adj1) supernatural: sobrenatural2) herculean: sobrehumanoadj.• sobrehumano, -a adj.'suːpər'hjuːmən, ˌsuːpə'hjuːmənadjective <efforts/courage> sobrehumano[ˌsuːpǝ'hjuːmǝn]ADJ [strength, efforts, powers] sobrehumano* * *['suːpər'hjuːmən, ˌsuːpə'hjuːmən]adjective <efforts/courage> sobrehumano -
8 power
1) ((an) ability: A witch has magic power; A cat has the power of seeing in the dark; He no longer has the power to walk.) evne2) (strength, force or energy: muscle power; water-power; ( also adjective) a power tool (=a tool operated by electricity etc. not by hand).) styrke, kraft, energi3) (authority or control: political groups fighting for power; How much power does the Queen have?; I have him in my power at last) makt, myndighet4) (a right belonging to eg a person in authority: The police have the power of arrest.) myndighet5) (a person with great authority or influence: He is quite a power in the town.) maktfaktor6) (a strong and influential country: the Western powers.) makt7) (the result obtained by multiplying a number by itself a given number of times: 2 × 2 × 2 or 23 is the third power of 2, or 2 to the power of 3.) potens•- powered- powerful
- powerfully
- powerfulness
- powerless
- powerlessness
- power cut
- failure
- power-driven
- power point
- power station
- be in powerevne--------kraft--------maktIsubst. \/ˈpaʊə\/1) evne, makt, kraft2) makt (også konkret), maktfaktor, myndighet3) bemyndigelse, fullmakt, kompetanse, maktområde, myndighet4) (elektronikk, fysikk) kraft, effekt, styrke, drivkraft, energi5) ( optikk) styrke6) (gude)makt• merciful powers!7) ( matematikk) potens8) ( hverdagslig) enormt, kolossalt, masse, veldig mange, veldig9) ( gammeldags) krigsmakt, hærbe beyond one's power eller be out of one's power ikke stå i ens maktbe in power sitte med maktenbe in someone's power være i noens maktcome into power komme til maktendesire for power maktlyst, herskelystexceed one's powers overskride sine fullmakterfall into someone's power falle i noens maktfull powers ubegrenset makt, uinnskrenket maktget power over få makt over, ta makten overget someone in(to) one's power få noen i sin makthave power to eller have it in one's power to stå i ens makt å, ha makt til åin human power i menneskelig maktlie (with)in someone's power stå i noens maktmore power to your elbow! lykke til!, stå på!, tvi, tvi!, skål!power of\/over makt overpowers evne(r), begavelse, talent(er)separation of powers ( jus) maktfordelingsprinsippIIverb \/ˈpaʊə\/1) forsyne med drivkraft\/motor, drive2) ( hverdagslig) mase på, trenge seg på, trenge seg frem, skynde segpowered motordrevetpower something up\/down ( om noe elektrisk) skru noe på\/av -
9 superhuman
su:pə'hju:mən(divine, or beyond what is human: superhuman powers; a man of superhuman strength.) overmenneskelig; guddommeligadj. \/ˌsuːpəˈhjuːmən\/, \/ˌsjuːpəˈhjuːmən\/overmenneskelig -
10 superhuman
[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) ofurmannlegur -
11 superhuman
ember feletti, emberfölötti* * *[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) emberfölötti -
12 superhuman
[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) sobrehumano* * *su.per.hu.man[su:pəhj'u:mən] adj sobre-humano, além das forças humanas. -
13 superhuman
adj. insanüstü* * *insanüstü* * *[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) insanüstü -
14 superhuman
[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) nadčloveški* * *[sju:pəhjú:mən]adjective ( superhumanly adverb)nadčloveški -
15 superhuman
• yli-inhimillinen* * *su:pə'hju:mən(divine, or beyond what is human: superhuman powers; a man of superhuman strength.) yliluonnollinen -
16 superhuman
[ˌsuːpə'hjuːmən, ˌsjuː-]aggettivo sovrumano* * *[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) sovrumano* * *superhuman /su:pəˈhju:mən/a.superhumanly avv.* * *[ˌsuːpə'hjuːmən, ˌsjuː-]aggettivo sovrumano -
17 superhuman
adjective* * *[su:pə'hju:mən]* * *super·ˈhu·manadj übermenschlich* * ** * *adjective* * *adj.übermenschlich adj. -
18 superhuman
[suːpə'hjuːmən]adj* * *[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) nadludzki -
19 superhuman
[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) pārcilvēcisks* * *pārcilvēcisks -
20 superhuman
[su:pə'hju:mən](divine, or beyond what is human: superhuman powers; a man of superhuman strength.) antžmogiškas, nežmoniškas
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