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1 creative brief
творческое задание
Изложение творческого замысла и письменное описание индивидуальных особенностей бренда (например, тематики, цветовой палитры зрительного образа, позиционирования и смыслового наполнения бренда), а также типового набора креативных элементов, которые служат основой для составления плана стратегии бренда и маркетинговых коммуникаций.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]EN
creative brief
Articulation of the creative vision and a written description of the brand identity guidelines (e.g. theme, color palette image, positioning and message), along with a description of "kit of parts" creative elements that form a foundation for development of a brand strategy and marketing communications plan.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]Тематики
EN
Англо-русский словарь нормативно-технической терминологии > creative brief
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2 creative brief
рекл. креатив-бриф, креативная платформа (документ, устанавливающий ключевые направления и цели какой-л. творческой деятельности; напр., документ, устанавливающий основные цели и методы рекламной кампании, либо определяющий основные идеи и содержание интернет-сайта и т. д.)See: -
3 creative brief
Реклама: концепция рекламной кампании -
4 creative brief
s brífing creatiuDef. del Termcat: Document que conté la informació estratègica que l'agència de publicitat utilitza com a guia per desenvolupar la creativitat publicitària. -
5 creative
creative [krɪ'eɪtɪv]1 noun(department, work) création f; (person) créatif(ive) m,f;∎ we prefer creative to be handled out of house nous préférons que tout ce qui est création artistique soit réalisé à l'extérieur(person, mind, skill) créatif;∎ to encourage sb to be creative encourager la créativité chez qn;∎ we need some creative thinking nous avons besoin d'idées originales►► euphemism creative accounting (manipulation of accounts) comptabilité f fantaisiste;creative brief (in advertising) plan m de travail créatif, PTC m;creative department service m de création;creative director directeur(trice) m,f de la création;the creative instinct l'instinct m de création;creative team équipe f de création;creative writing techniques fpl de l'écriture;∎ he's good at creative writing il est doué pour l'écriture;creative writing class atelier m d'écriture -
6 advertising brief
рекл. рекламный бриф, рекламное резюме (документ, содержащий базовую информацию о целях и методах рекламной кампании; подготавливается рекламодателем для рекламного агентства для указания на основную идею рекламных сообщений, целевую аудиторию и общую программу размещения рекламы, приемлемый рекламный бюджет и др., и служит основой для выработки агентством слоганов, текстов и макетов печатных рекламных объявлений, сценариев рекламных роликов, разработки медиаплана и т. д.)See:* * *соглашение между рекламным агентством и клиентом о целях рекламной кампании, которое помогает выработать стратегию рекламной кампании и составить смету расходов -
7 brand protection communications & education plan
- план ФНД «Защита интеллектуальной собственности» по коммуникациям и образованию
план ФНД «Защита интеллектуальной собственности» по коммуникациям и образованию
План включает в себя Концепцию рекламной кампании функции, в которой указано художественное направление, идейное содержание и целевая аудитория пиар-кампании «Противодействие теневому маркетингу». План также включает в себя инструментарий, необходимый ФНД «Защита интеллектуальной собственности» в работе с общественностью (например, рекламные проспекты, тезисы выступлений, пресс-релизы и т. д.) для пресс-конференций и интервью о фактах нарушения прав интеллектуальной собственности и освещения судебных процессов, по которым решение вынесено в пользу ОКОИ. В случае необходимости, в образовательный проект могут быть включены работодатели ОКОИ.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]EN
brand protection communications & education plan
Plan includes a Function Creative Brief, which outlines the creative direction, message and target audience for the "Anti-Ambush" communication and public relations campaign. Plan also includes a public relations kit for Brand Protection (e.g., fact sheets, talking points, press releases, etc.) for press conferences and interviews to spotlight infringement cases and publicize those resolved in the OCOG’s favor. In case of need, the education project can be extended to OCOG employers.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]Тематики
EN
- brand protection communications & education plan
Англо-русский словарь нормативно-технической терминологии > brand protection communications & education plan
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8 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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9 advertising
сущ.1) рекл. реклама (совокупность каких-л. рекламных объявлений; обычно употребляется с указанием места, где размещается данная реклама)Over 60 percent of alcohol advertising [on television\] is shown during sports programming
Asian governments have attempted to limit excessive consumptions by instituting strict control over the content and amount of advertising in the media.
Advertising [on buses\] is one of the important advertising means to which companies and establishments attach great importance because this type of advertisement is a mobile one seen by all.
two-thirds of the food and drink advertising for children under 12 — две трети всей рекламы продуктов питания для детей младше 12-ти лет
Last month, 10 companies that produce almost two-thirds of the food and drink advertising [for children\] under 12 agreed to start cutting back on advertising junk foods.
No person shall within the city distribute [printed\] advertising by placing it within or upon parked automobiles.
2) рекл. реклама, рекламирование (процесс осуществления рекламы; как правило, употребляется с указанием рекламируемого продукта)Alcohol advertising is the promotion of alcoholic beverages by alcohol producers through a variety of media.
the control of medicines advertising in the UK — контроль за рекламой лекарств в Соединенном Королевстве
ATTRIBUTES: accessory 2. 1), advance 3. 2), aerial 3. 1), agricultural, air 2. 1),
alternative 2. 3), ambient 1. 1), audiovisual, auxiliary 2. 1), block 1. 4) а), boastful, broadcast 2. 1), n1, classified 1. 1), commercial 1. 4) а), comparative, competing 1. 1) а), competitive 1. 2) а), concept 1. 2) а), consumer 1. 1) а), continuity 1. 1) а), controversial 1. 1) а), cooperative 2. 1), n2, coordinated, corporate 1. 2) а), б, corrective 1. 1), creative, deceptive, demographic, denigratory, dissipative, domestic 1. 2) а),
foreign 1) б), global, professional 1. 3) б), regional, repeat 3. 3) б), strategic, superior 3. 1) б), test 3. 3) б), traditional
Syn:See:accessory advertising, advance advertising, advocacy advertising, aerial advertising, agricultural advertising, air advertising, aisle advertising, alternative advertising, ambient advertising, analogy advertising, association advertising, audiovisual advertising, auxiliary advertising, bait advertising, bait and switch advertising, bait-and-switch advertising, bank advertising, banner advertising, bargain advertising, bargain-basement advertising, block advertising, boastful advertising, brand advertising, brand image advertising, brand name advertising, breakthrough advertising, broadcast advertising, burst advertising, business advertising, business paper advertising, business publication advertising, business-to-business advertising, car-card advertising, cause advertising, challenged advertising, charity advertising, children's advertising, cinema advertising, classified advertising, combative advertising, commercial advertising, comparative advertising, comparison advertising, competing advertising, competitive advertising, concept advertising, consumer advertising, continuity advertising, controversial advertising, co-op advertising, cooperative advertising, coordinated advertising, corporate advertising, corporate image advertising, corrective advertising, counter advertising, counteradvertising, coupon advertising, creative advertising, deceptive advertising, demographic advertising, demonstration advertising, denigratory advertising, direct advertising, direct response advertising, direct-action advertising, direct mail advertising, direct-mail advertising, directory advertising, display advertising, dissipative advertising, domestic advertising, door-to-door advertising, educational advertising, electric advertising, electrical advertising, e-mail based advertising, entertaining advertising, ethical advertising, export advertising, eye-catching advertising, factual advertising, false advertising, farm advertising, fashion advertising, film advertising, financial advertising, flexform advertising, follow-up advertising, foreign advertising, fraudulent advertising, full-page advertising, gender advertising, general advertising, generic advertising, global advertising, goodwill advertising, group advertising, hard-sell advertising, hard-selling advertising, heavy advertising, help wanted advertising, high-pressure advertising, house advertising, house-to-house advertising, idea advertising, illuminated advertising, image advertising, impact advertising, indirect action advertising, indirect-action advertising, individual advertising, indoor advertising, industrial advertising, information advertising, informational advertising, informative advertising, in-house advertising, initial advertising, innovative advertising, institutional advertising, in-store advertising, insurance advertising, international advertising, interstate advertising, introductory advertising, intrusive advertising, issue advertising, joint advertising, large-scale advertising, launch advertising, legal advertising, local advertising, mail advertising, mail-order advertising, mass advertising, mass-media advertising, media advertising, military advertising, misleading advertising, mobile advertising, mood advertising, movie theatre advertising, multimedia advertising, multinational advertising, national advertising, non-business advertising, non-commercial advertising, novelty advertising, obtrusive advertising, offbeat advertising, off-season advertising, on-line advertising, on-target advertising, opinion advertising, oral advertising, outdoor advertising, out-of-home advertising, package advertising, periodical advertising, personality advertising, persuasive advertising, point-of-purchase advertising, point-of-sale advertising, political advertising, postal advertising, postcard advertising, poster advertising, postmark advertising, pre-launch advertising, premium advertising, press advertising, prestige advertising, price advertising, primary advertising, print advertising, private sector advertising, problem-solution advertising, procurement advertising, producer advertising, product advertising, product-comparison advertising, professional advertising, promotional advertising, public relations advertising, public sector advertising, public service advertising, public-affairs advertising, public interest advertising, public-issue advertising, public-service advertising, radio advertising, railway advertising, reason-why advertising, recruitment advertising, regional advertising, reinforcement advertising, remembrance advertising, reminder advertising, repeat advertising, retail advertising, retentive advertising, saturation advertising, scented advertising, screen advertising, seasonal advertising, selective advertising, self-advertising, semi-display advertising, show-window advertising, sky advertising, slide advertising, social advertising, social cause advertising, soft-sell advertising, specialty advertising, split-run advertising, spot advertising, store advertising, strategic advertising, street advertising, strip advertising, subliminal advertising, sustaining advertising, switch advertising, tactical advertising, target advertising, taxi top advertising, teaser advertising, television advertising, test advertising, testimonial advertising, tie-in advertising, tombstone advertising, total advertising, trade advertising, trademark advertising, traditional advertising, transformational advertising, transit advertising, transportation advertising, truthful advertising, truth-in-advertising, two-step formal advertising, unacceptable advertising, unfair advertising, untruthful advertising, visual advertising, vocational advertising, wall advertising, word-of-mouth advertising, written advertising, yellow pages advertising, advertising abuse, advertising action, advertising aids, advertising analysis а), advertising appeal, advertising approach, advertising audience, advertising awareness, advertising balance, advertising band, advertising believability, advertising break, advertising brochure, advertising catalogue, advertising circular, advertising claim 1) а), advertising clutter, advertising column, advertising communication, advertising competition 2) а), advertising copy, advertising coupon, advertising credibility, advertising cue, advertising decay, advertising deception, advertising device, advertising emphasis, advertising exaggeration, advertising exposure 2) а), advertising factor а), advertising film, advertising folder, advertising frequency, advertising gift, advertising gimmick, advertising handbill, advertising hoarding, advertising image, advertising impact, advertising impression, advertising influence, advertising insert, advertising intensity, advertising jingle, advertising label, advertising leaflet, advertising letter, advertising literature 1) а), advertising location, advertising magazine, advertising material, advertising matter, advertising media, advertising medium, advertising novelty, advertising operation 2) а), advertising page, advertising pamphlet, advertising panel, advertising penetration, advertising perception, advertising personality, advertising playback, advertising point, advertising posttest, advertising pretest, advertising puffery, advertising pylon, advertising race, advertising readership, advertising recall, advertising response, advertising retention, advertising sample, advertising section 2) а), advertising site, advertising slogan, advertising space, advertising specialty, advertising sponsorship, advertising spoof, advertising spot, advertising standards, advertising structure, advertising supplement, advertising test, advertising testing, advertising text, advertising threshold, advertising time, advertising vehicle, advertising wearout, advertising wedge, Canadian Code of Advertising Standards, Code of Advertising Practice, Defining Advertising goals for Measured Advertising Results, Federal Cigarette Labeling and Advertising Act, ICC Guidelines / Code on Advertising and Marketing on the Internet, ICC International Code of Advertising Practice, ICC International Code of Environmental Advertising, ICC International Codes of Marketing and Advertising Practices, Standard Advertising Register, Standard Directory of Advertising Agencies, Standards of Practice of the American Association of Advertising Agencies, Advertising Association, Advertising Association of the West, Advertising Checking Bureau, Advertising Club of New York, Advertising Council, Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc. 2), Advertising Council, Inc., Advertising Council, Inc., Advertising Council, Inc.3) рекл. рекламное дело, рекламная деятельность, рекламный бизнес (реклама как вид деятельности безотносительно каких-л. конкретных продуктов; реклама как одна из функций организации)advertising counsellor [consultant\] — рекламный консультант, консультант по рекламе
advertising expert — рекламный эксперт, эксперт по рекламе
Syn:See:above-the-line advertising, below-the-line advertising, flat fee advertising, investment advertising, per inquiry advertising, advertising account, advertising activity, advertising agency, advertising agent, advertising agreement, advertising allowance, advertising analysis б), advertising appropriation, advertising assistant, advertising audit, advertising brief, advertising broker, advertising budget, advertising business, advertising campaign, advertising canvasser, advertising claim 2) б), advertising club, advertising code, advertising community, advertising company, advertising competition 1) б), advertising contract, advertising contractor, advertising control, advertising cooperative, advertising copywriting, advertising cost, advertising coverage, advertising customer, advertising department, advertising director, advertising directory, advertising drive, advertising effect, advertising effectiveness, advertising efficiency, advertising environment, advertising ethics, advertising exchange, advertising executive, advertising expenditures, advertising expenses, advertising exposure 1) б), &3, advertising factor б), advertising firm, advertising guide, advertising industry, advertising injury, advertising landscape, advertising legislation, advertising leverage, advertising liability, advertising linage, advertising literature 2) б), advertising man, advertising management, advertising manager, advertising method, advertising mix, advertising monopoly, advertising network, advertising objective, advertising office, advertising operation 1) б), advertising order, advertising outcome, advertising outlay, advertising output, advertising people, advertising performance, advertising personnel, advertising plan, advertising planner, advertising planning, advertising portfolio, advertising practice, advertising practitioner, advertising professional, advertising programme, advertising purpose, advertising rate, advertising register, advertising representative, advertising research, advertising restrictions, advertising sales agents, advertising schedule, advertising section 1) б), advertising self-regulation, advertising services, advertising specialist, advertising spending, advertising statistics, advertising strategy, advertising substantiation, advertising support, advertising talent, advertising theory, advertising value, advertising variable, advertising weight, media buy, copywriting, advertology
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реклама, рекламирование: использование печатных, теле-, радио- и иных посланий, оплаченных рекламодателем, для благоприятного воздействия на потенциальных покупателей товара или клиентов.* * *размещение объявлений; размещение рекламы; рекламирование. . Словарь экономических терминов .* * *эмоционально окрашенная информация об основных характеристиках отдельных видов страхования и страховых операций с целью формирования устойчивого спроса на страховые услуги-----средство распространения информации и убеждения людей через прессу, телевидение, радиовещание, объявления, плакаты и другим образом -
10 writing
noun1) Schreiben, das2) (handwriting) Schrift, die3) (something written) Schrift, diethe writing on the wall — (fig.) das Menetekel an der Wand
* * *noun (letters or other forms of script giving the written form of (a) language: the Chinese form of writing; I can't read your writing.) die Schrift* * *writ·ing[ˈraɪtɪŋ, AM -t̬ɪŋ]nreading, \writing and arithmetic Lesen, Schreiben und Rechnen▪ in \writing schriftlichwe'll need to have your agreement in \writing wir brauchen Ihr schriftliches Einverständniscreative \writing kreatives Schreibenwomen's \writing Frauenliteratur f4. (written works)▪ \writings pl Schriften pl7. REL8.▶ the \writing is on the wall/the wall for sb die/jds Stunde hat geschlagen* * *['raItɪŋ]nSchrift f; (= act, profession) Schreiben nt; (= inscription) Inschrift fat the time of writing — als dies geschrieben wurde; (in present) während ich dies schreibe
his writings — seine Werke or Schriften
he earns a bit from his writing — er verdient sich ein bisschen (Geld) mit Schreiben
* * *A s1. Schreiben n (Tätigkeit)2. Schriftstellerei f3. a) schriftliche Ausfertigung oder Abfassungb) Komposition fin writing schriftlich;put in writing schriftlich niederlegen;the writing on the wall fig die Schrift an der Wand, das Menetekel5. Schrift f, (literarisches) Werk:the writings of Pope Popes Werke;6. Aufsatz m, Artikel m7. Brief m8. Inschrift f9. Schreibweise f, Stil m10. (Hand)Schrift fB adj1. schreibend, besonders schriftstellernd:writing man Schriftsteller m2. Schreib…* * *noun1) Schreiben, das2) (handwriting) Schrift, die3) (something written) Schrift, diethe writing on the wall — (fig.) das Menetekel an der Wand
* * *adj.schreibend adj. n.Schrift -en f. -
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 Griffith, Alan Arnold
[br]b. 13 June 1893 London, Englandd. 13 October 1963 Farnborough, England[br]English research engineer responsible for many original ideas, including jet-lift aircraft.[br]Griffith was very much a "boffin", for he was a quiet, thoughtful man who shunned public appearances, yet he produced many revolutionary ideas. During the First World War he worked at the Royal Aircraft Factory, Farnborough, where he carried out research into structural analysis. Because of his use of soap films in solving torsion problems, he was nicknamed "Soap-bubble".During the 1920s Griffith carried out research into gas-turbine design at the Royal Aircraft Establishment (RAE; as the Royal Aircraft Factory had become). In 1929 he made proposals for a gas turbine driving a propeller (a turboprop), but the idea was shelved. In the 1930s he was head of the Engine Department of the RAE and developed multi-stage axial compressors, which were later used in jet engines. This work attracted the attention of E.W. (later Lord) Hives of Rolls-Royce who persuaded Griffith to join Rolls-Royce in 1939. His first major project was a "contra-flow" jet engine, which was a good idea but a practical failure. However, Griffith's axial-flow compressor experience played an important part in the success of Rolls-Royce jet engines from the Avon onwards. He also proposed the bypass principle used for the Conway.Griffith experimented with suction to control the boundary layer on wings, but his main interest in the 1950s centred on vertical-take-off and -landing aircraft. He developed the remarkable "flying bedstead", which consisted of a framework (the bedstead) in which two jet engines were mounted with their jets pointing downwards, thus lifting the machine vertically. It first flew in 1954 and provided much valuable data. The Short SC1 aircraft followed, with four small jets providing lift for vertical take-off and one conventional jet to provide forward propulsion. This flew successfully in the late 1950s and early 1960s. Griffith proposed an airliner with lifting engines, but the weight of the lifting engines when not in use would have been a serious handicap. He retired in 1960.[br]Principal Honours and DistinctionsCBE 1948. FRS 1941. Royal Aeronautical Society Silver Medal 1955; Blériot Medal 1962.BibliographyGriffith produced many technical papers in his early days; for example: 1926, Aerodynamic Theory of Turbine Design, Farnborough.Further ReadingD.Eyre, 1966, "Dr A.A.Griffith, CBE, FRS", Journal of the Royal Aeronautical Society (June) (a detailed obituary).F.W.Armstrong, 1976, "The aero engine and its progress: fifty years after Griffith", Aeronautical Journal (December).O.Stewart, 1966, Aviation: The Creative Ideas, London (provides brief descriptions of Griffith's many projects).JDS
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