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1 creative artist
Реклама: творчески мыслящий художник, художник-творец -
2 creative artist
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3 creative artist
படைப்பாளி -
4 artist
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5 CAA
1) Компьютерная техника: Computer Aided Architecture, Computer Aided Or Assisted2) Авиация: ОГА, chromic acid anodizing, civil aviation autorities4) Военный термин: Chief of Army Aviation, Combined Arms Agency, Concept Analysis Agency, Concepts Analysis Agency, combat available aircraft, command arrangement agreement, counterair aircraft, cryptoaccess authorization, Combined Arms Army (FSU)5) Техника: caging amplifier assembly, circular aperture antenna, collinear array antenna, collision avoidance aids, computer-aided analysis, control air compressor6) Ветеринария: Center for Animal Alternatives (University of California - Davis)7) Сокращение: Civil Aeronautics Administration, Civil Aviation Authority (UK), Civil Aviation Authority, Clean Air Act (from Environmental Protection Agency), Combined Arms Army, Commercial Aviation Association, Concepts Analysis Agency (U.S. Army), Concepts Analysis Agency (US Army), Conformal Antenna Array, Civil Aviation Authority (GB), Civil Aeronautic Administration (USA)8) Университет: California Alumni Association9) Электроника: CIM applications architecture10) Вычислительная техника: computer augmented acceleration11) Нефть: Clean Air Act (The CAA addresses and regulates airborne pollution that may be potentially hazardous to public health or natural resources)12) Микробиология: Cephalexin-Aztreonam-Arabinose (вид питательной среды)13) Неврология: ЦАА (Церебральная амилоидная ангиопатия, http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2647900/?tool=pubmed)14) Транспорт: Cancel All Aviation, Clean Air Act15) Воздухоплавание: Civil Aeronautics Administration (US)16) Фирменный знак: Creative Artist Agency, Creative Artists Agency17) Автоматика: computer-aided accuracy, crossed axis angle18) Химическое оружие: Clean Air Act of 197719) Военно-политический термин: Североатлантическая ассамблея20) Автодорожное право: Закон о чистом воздухе21) AMEX. Capital Alliance Income Trust Real Estate Investment Trust -
6 do homage to smb.
(do (или pay) homage to smb.)свидетельствовать почтение кому-л., уважать, чтить кого-л.; оказывать внимание кому-лThis is the homage I pay to the creative artist. (W. S. Maugham, ‘Complete Short Stories’, ‘The Voice of the Turtle’) — Это свидетельство моего уважения к художнику-творцу.
I said something about Marchesi being known the world over, as the great teacher of singing, and that we, in Australia, paid her particular homage because it was she who had perfected the beauty of Melba's voice. (K. S. Prichard, ‘Child of the Hurricane’, ch. XXIII) — я сказала что-то о том, что Маркези известна всему миру как замечательный педагог и мы в Австралии особенно чтим ее, так как именно благодаря ее мастерству прекрасный голос Мельбы обрел такое совершенство.
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7 try one's wings
He decided to compose music as well as to play it; he began to try his wings as a creative artist. (Kenk) — Он взялся за сочинение музыки и решил сам исполнять ее: пора было пробовать свои силы на творческой стезе.
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8 spread one's wings
pacпpaвить кpылья, пpoявить cвoи cилы, cпocoбнocти, пoпpoбoвaть cвoи cилыHe is trying his wings. He is just the sort of young fellow to rise (G. Eliot). He decided to compose music as well as to play it: he began to try his wings as a creative artist, and he found they held him up (W. Cooper) -
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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10 творческий
прил. creative творческий путь художника ≈ development of an artist творческая сила ≈ creative power;
creativeness творческие силы ≈ creative forces творческие искания ≈ creative search ед., quest for inspiration ед., artistic explorations творческий вечер ≈ recital( музыканта) ;
reading( писателя) творческая командировка ≈ trip to gather material for creative workтворческ|ий - creative, constructive;
~ие искания creative search sg., quest for inspiration sg., artistic explorations;
~ путь художника development of an artist;
~ вечер, отчёт( музыканта) recital;
(писателя) reading;
~ая мысль creative thought;
~ая деятельность creative activities pl. ;
~ коллектив( creative) group/team;
~ая командировка trip to gather material for creative work;
~ отпуск time-off (from official duties) to work in one`s own artistic, scientific field;
~ая сила creative power;
~ успех artistic success;
~ое озарение (burst/flash of) inspiration;
brainwave;
brainstorm;
~ие годы писателя a writer`s productive period.Большой англо-русский и русско-английский словарь > творческий
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11 original
1. adjectivethe original inhabitants — die Ureinwohner
2) (primary) original; Original-; Ur[text, -fassung]; eigenständig [Forschung]; (inventive) originell; (creative) schöpferisch2. nounOriginal, das* * *[ə'ri-]1) (existing at the beginning; first: This part of the house is new but the rest is original.) original2) ((able to produce ideas which are) new, fresh or not thought of before: original ideas; He has a very original mind.) originell3) ((of a painting etc) by the artist etc, from which copies may be made: The original painting is in the museum, but there are hundreds of copies.) Original...* * *origi·nal[əˈrɪʤɪnəl]I. nto read sth in the \original etw im Original lesen1. (first) ursprünglichto read sth in the \original French etw im französischen Original lesenthe \original version die Originalversion; of a book die Originalausgabe [o Erstausgabe\original artwork originelles [o ungewöhnliches] Bildmaterialan \original thinker (creative) ein kreativer Denker/eine kreative Denkerin; (innovative) ein Vordenker/eine Vordenkerinan \original thought ein origineller Gedanke3. (from creator) originalis this an \original Rembrandt? ist das ein echter Rembrandt?\original manuscript Originalmanuskript nt\original painting Original nt\original print Originaldruck mthe \original score die original Filmmusik* * *[ə'rIdZɪnl]1. adj1) (= first, earliest) ursprünglichin its original form — in seiner ursprünglichen Form
original inhabitants of a country — Ureinwohner pl eines Landes
original text — Urtext m
3) (= unconventional, eccentric) character, person originell2. n2) (= eccentric person) Original nt* * *original [əˈrıdʒənl]A adj (adv → academic.ru/52163/originally">originally)1. original, Original…, Ur…, ursprünglich, echt:original packaging Originalverpackung f;a television in its original packaging ein original verpackter Fernseher;the original picture das Originalbild;2. erst(er, e, es), ursprünglich, Ur…:original copy Erstausfertigung f;the original inventor der ursprüngliche Erfinder;original jurisdiction JUR erstinstanzliche Zuständigkeit;have original jurisdiction in erster Instanz zuständig sein;3. originell, neu (Idee etc)4. selbstständig, unabhängig (Denker, Forschung etc)5. schöpferisch, ursprünglich:original genius Schöpfergeist m6. ureigen, urwüchsig, Ur…:original behavio(u)r urwüchsiges Benehmen;original nature Urnatur fB s1. Original n:a) Urbild n, Urstück nb) Urfassung f, Urtext m:2. Original n umg (exzentrischer Mensch)3. BOT, ZOOL Stammform forig. abk1. origin2. original (originally)* * *1. adjective1) (first, earliest) ursprünglich2) (primary) original; Original-; Ur[text, -fassung]; eigenständig [Forschung]; (inventive) originell; (creative) schöpferisch2. nounOriginal, das* * *adj.original adj.unbearbeitet adj.ursprünglich adj. n.Original -e n. -
12 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. -
13 original
1) (existing at the beginning; first: This part of the house is new but the rest is original.) original2) ((able to produce ideas which are) new, fresh or not thought of before: original ideas; He has a very original mind.) original3) ((of a painting etc) by the artist etc, from which copies may be made: The original painting is in the museum, but there are hundreds of copies.) originaloriginal1 adj1. originalis this the original painting or is it a copy? ¿es éste el cuadro original o es una copia?2. primero / originariooriginal2 n originalthis is not the original, it's a copy no es el original, es una copia
original adjetivo / noun masculine original
original
I adjetivo original
II mf original: tengo que entregar el original a la imprenta, I have to give the original to the printer's ' original' also found in these entries: Spanish: m.s. - novedosa - novedoso - originaria - originario - pecado - primitiva - primitivo - promotor - promotora - retornar - subtítulo - versión - vista - visto - VO - subtitular English: arrange - beat down - close - creative - derivative - first - individual - master - novel - original - originally - sell back - unconventional - unusual - different - line - secondary - stick - unoriginaltr[ə'rɪʤɪnəl]1 (first, earliest) original, originario,-a, primero,-a2 (not copied) original3 (new, different) original■ how original! ¡qué original!1 original nombre masculino\SMALLIDIOMATIC EXPRESSION/SMALLin the original en versión originaloriginal sin pecado originaloriginal [ə'rɪʤənəl] adj: originaloriginal n: original madj.• original adj.• originario, -a adj.• primitivo, -a adj.n.• auténtica s.f.• original s.m.• prototipo s.m.
I ə'rɪdʒənḷ1) ( first) original, originariothe original inhabitants — los primeros habitantes, los habitantes originarios
original sin — pecado m original
2)a) ( not copied) originalb) ( unusual) original
II
a) (document, painting, sculpture) original mb) ( unusual person)[ǝ'rɪdʒɪnl]1. ADJ1) (=first, earliest) [version, size, colour, owner, intention, idea] original; [inhabitants] primero, primitivoof the original twenty, only twelve remained — de los veinte iniciales, solo quedaban doce
2) (=not copied) [document, painting] original3) (=unusual, creative) [person, idea] original2. N1) (=manuscript, painting, document) original m2) (=person)3.CPDoriginal sin N — pecado m original
* * *
I [ə'rɪdʒənḷ]1) ( first) original, originariothe original inhabitants — los primeros habitantes, los habitantes originarios
original sin — pecado m original
2)a) ( not copied) originalb) ( unusual) original
II
a) (document, painting, sculpture) original mb) ( unusual person) -
14 original
[ə'rɪdʒənl] 1.1) (initial) [question, site, strategy] originale, iniziale; [ member] originario; [ version] originalethe original inhabitants, owner — i primi abitanti, il primo possessore
2) (not copied) [manuscript, painting, receipt] originale3) (creative) [design, suggestion] originale4) (unusual) [character, person] originale2.nome originale m.to read sth. in the original — leggere qcs. in originale
* * *[ə'ri-]1) (existing at the beginning; first: This part of the house is new but the rest is original.) originale2) ((able to produce ideas which are) new, fresh or not thought of before: original ideas; He has a very original mind.) originale3) ((of a painting etc) by the artist etc, from which copies may be made: The original painting is in the museum, but there are hundreds of copies.) originale* * *[ə'rɪdʒənl] 1.1) (initial) [question, site, strategy] originale, iniziale; [ member] originario; [ version] originalethe original inhabitants, owner — i primi abitanti, il primo possessore
2) (not copied) [manuscript, painting, receipt] originale3) (creative) [design, suggestion] originale4) (unusual) [character, person] originale2.nome originale m.to read sth. in the original — leggere qcs. in originale
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15 plastic
ˈplæstɪk
1. прил.
1) пластический а) (связанный с ваянием, пластикой, созданием форм и т. п.) plastic art ≈ скульптура, лепка, ваяние plastic artist ≈ скульптор, ваятель plastic modelling ≈ создание пластических моделей (в моде и т. п.) б) тех. (пластичный;
тж. в выражениях plastic deformation, plastic flow) plastic deformation, plastic flow ≈ пластическая деформация plastic material ≈ пластмасса plastic foam ≈ пенопласт в) хир. (восстанавливающий ткани) plastic surgery ≈ пластическая, восстанавливающая хирургия plastic surgeon ≈ пластический хирург
2) творческий, созидающий, креативный plastic force of nature ≈ жизнетворящая сила природы lively plastic imagination ≈ живая фантазия Syn: formative, creative
3) а) гибкий, пластичный, послушный( о материале и т. п.) plastic clay ≈ суглинок;
лепкая, горшечная глина б) мягкий, податливый;
уступчивый( о характере, человеке и т. п.) a man of plastic nature ≈ уступчивый по своей природе человек mind ≈ восприимчивый, впечатлительный ум Syn: pliable в) биол. живучий, адаптирующийся (под что-л., какие-л. условия организм и т. п.) ecologically plastic animals ≈ экологически выносливые животные
4) скульптурный;
лепной, изваянный, высеченный из камня;
литой( из бронзы и т. п.) plastic merit ≈ скульптурные достоинства plastic images ≈ скульптурные образы Syn: modelled, moulded, sculptural
5) а) пластмассовый;
пластиковый, сделанный из пластика;
синтетический plastic bag ≈ пластиковый, полиэтиленовый пакет plastic clothes ≈ одежда из синтетики plastic explosive, plastic bomb ≈ пластиковая бомба plastic bullet ≈ виниловый снаряд( применяется полицией для подавления массовых беспорядков) plastic money ≈ кредитка, пластиковая карточка б) перен. искусственный, надуманный;
фальшивый;
поверхностный a totally plastic character, play ≈ насквозь фальшивый персонаж, игра plastic smiles ≈ фальшивые, натянутые улыбки Syn: phony, artificial, superficial, insincere
2. сущ.
1) часто мн. пластик;
пластмасса, винил the plastics industry ≈ промышленность по производству различных полимеров laminated plastic ≈ слоистый пластик expanded plastic, foamed plastic ≈ пенопласт
2) а) пластиковая взрывчатка( сокр. от plastic explosive) б) пластиковая кредитка, кредитная карточка( сокр. от plastic card) пластик;
пластмасса - foam * пенопласт - laminated * слоистый пластик - vinyl * винилит, виниловый пластик - the *s industry промышленность по производству пластических масс (the *) пластика (финансовое) (жаргон) кредитная карточка, банковская карточка пластичный;
поддающийся лепке, формовке - * clay пластичная /горшечная/ глина, суглинок - * material /substance/ пластичный материал послушный, податливый - * nature податливая натура - * mind гибкий /восприимчивый/ ум (техническое) пластичный, пластический - * material пластмасса - * flow /deformation/ пластическая деформация придающий форму, формообразующий - * forces in nature силы природы, постоянно изменяющие лицо планеты лепной, скульптурный - * images скульптурные изображения /портреты/ пластический - * art(s) искусство ваяния, пластическое искусство;
скульптура - a great * artist великий ваятель - * means( искусство) пластические средства (медицина) пластический, восстановительный - * surgery восстановительная /пластическая/ хирургия пластмассовый;
сделанный из пластика;
пластиковый - * tablecloth полиэтиленовая скатерть - * cup пластмассовая чашка синтетический, искусственный - * food искусственные /синтетические/ пищевые продукты поддельный;
деланный, неискренний;
ненатуральный, неестественный - * living жизнь, основанная на лжи foam ~ пенопласт plastic лепной;
скульптурный ~ пластический;
plastic art скульптура;
искусство ваяния ~ пластичность ~ пластичный, гибкий ~ (обыкн. pl) пластмасса ~ послушный, податливый ~ пластический;
plastic art скульптура;
искусство ваяния ~ clay глина для лепки, горшечная глина;
plastic material пластмасса ~ clay суглинок ~ surgery пластическая (или восстановительная) хирургия;
plastic flow тех. пластическая деформация ~ clay глина для лепки, горшечная глина;
plastic material пластмасса ~ surgery пластическая (или восстановительная) хирургия;
plastic flow тех. пластическая деформация -
16 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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17 seminal
ˈsi:mɪnl прил.
1) семенной;
зародышевый seminal fluid Syn: seed, spermatic
2) плодовитый, плодотворный;
конструктивный, продуктивный a seminal book ≈ книга, содержащая плодотворные идеи one of the most seminal of the great poets ≈ один из наиболее плодовитых поэтов Syn: fruitful, productive, creative, original (биология) семенной, зародышевый - * leaf (ботаника) семядоля - * fluid( биология) семенная жидкость, сперма плодотворный - * ideas плодотворные мысли основополагающий;
оригинальный, новаторский - * artist художник, положивший начало новому направлению - * book основополагающая книга - * minds оригинальные мыслители seminal плодотворный;
конструктивный ~ семенной;
зародышевый;
seminal fluid физиол. семя ~ семенной;
зародышевый;
seminal fluid физиол. семя -
18 CIA
1) Компьютерная техника: Cpu Intelligent Accelerator2) Медицина: chemilumescent analysis, коллаген-индуцированный артрит (collagen-induced arthritis), common iliac artery3) Американизм: Custom Interface Agreement4) Спорт: Cardinals In Action5) Военный термин: Chief Inspecting Artificer, Chief Inspector of Armaments, Commander's Initial Assessment, captured in action, contractor interface agreement, ЦРУ, Центральное разведывательное управление6) Техника: capital improvement authorization, communications interface assembly, computer interface adapter, containment isolation actuation7) Шутливое выражение: Capitalism's International Army, Capitalism's Invisible Army, Completely Insane Anteaters, Corrupt Incompetent Americans, Crazy In the Army8) Юридический термин: Can't Identify Anything, Caught In Action, Caught In the Act, Central Intelligence Agency9) Экономика: глава внутреннего аудита (chief internal auditor)10) Бухгалтерия: certified internal auditor, дипломированный внутренний аудитор (Certified Internal Auditor)11) Биржевой термин: Comrades In Arms12) Грубое выражение: Central Idiot Agency, Completely Incompetent Assholes, Corrupt Ignorant Assholes, Crappy Information Always, Crazy Insane Anime, Cunts In Action13) Сокращение: Central Intelligence Agency (USA), Commerce and Industry Association, Culinary Institute of America (Hyde Park, NY), Cast Iron Alloy14) Университет: Curriculum Instruction And Assessment15) Вычислительная техника: Computer and Communications Industry Association, Central Intelligence Agency (US Government), CAN In Automation (organization, CAN)17) Биохимия: Chemiluminescence Immunoassay18) Банковское дело: плата авансом (cash in advance)19) Транспорт: California International Airshow20) Пищевая промышленность: Custard In Apples21) Воздухоплавание: Международная комиссия по воздухоплаванию при FAI (Commission Internationale d'Aérostation, International Ballooning Commission)22) Фирменный знак: Creative Intelligence Associates23) Экология: climatic impact assessment24) Деловая лексика: Compagnia - Spanish company, плата наличными вперёд (cash in advance)25) Образование: Children In Action26) Инвестиции: cash in advance27) Сетевые технологии: Complex Interface Adapters28) Программирование: Code Inspection Agent29) Автоматика: computer intelligence access30) Расширение файла: Current Instruction Address31) Должность: Canadian Institute of Actuaries, Chief Information Advisor, Christian Indie Artist, Counter Intelligence Associates, Crime Implementation Analyst32) Чат: Can't Imagine Another34) Программное обеспечение: The C Information Abstractor35) AMEX. Citizens, Inc. -
19 inspired
tr[ɪn'spaɪəd]1 (filled with creative power) inspirado,-a2 (based on intuition) genialadj.• genial adj.ɪn'spaɪrd, ɪn'spaɪədadjective inspiradoit was just an inspired guess o idea — fue sólo una inspiración
[ɪn'spaɪǝd]ADJ [musician, poet, artist, sportsman] genial; [performance] inspirado; [idea] genial, excelentethe pianist was playing like a man inspired — el pianista tocaba como si los dioses guiasen sus manos
•
to feel inspired — sentirse inspirado* * *[ɪn'spaɪrd, ɪn'spaɪəd]adjective inspiradoit was just an inspired guess o idea — fue sólo una inspiración
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20 plastic
['plæstɪk] 1. прил.1)а) пластический (связанный с ваянием, пластикой, созданием форм)plastic art — скульптура, лепка, ваяние
plastic artist — скульптор, ваятель
б) скульптурныйв) лепной, изваянный; высеченный из камня•Syn:2) литой ( из металла)3) тех. пластичныйplastic deformation; plastic flow — пластическая деформация
4) гибкий, пластичный, послушный ( о материале)plastic clay — геол. суглинок; лепкая, горшечная глина
Syn:5) мед. пластический ( восстанавливающий ткани)plastic surgery — пластическая, восстанавливающая хирургия
6) пластмассовый; пластиковый, сделанный из пластика; синтетическийplastic bag — пластиковый, полиэтиленовый пакет
plastic bomb; plastic explosive — пластиковая бомба
plastic money — амер. пластиковая кредитная карта
7) искусственный, надуманный; фальшивый; поверхностныйplastic smiles — фальшивые, натянутые улыбки
Syn:8)а) мягкий, податливый; уступчивый (о характере, человеке)plastic mind — восприимчивый, впечатлительный ум
Syn:б) биол. приспосабливающийся, адаптирующийся (под что-л., какие-л. условия организм)ecologically plastic animals — животные, приспосабливающиеся к условиям окружающей среды
9) творческий, созидающий, креативныйSyn:2. сущ.1) обычно мн. пластик; пластмассаexpanded plastic; foamed plastic — пенопласт
2) разг.; = plastic explosive пластик, пластит ( пластичное взрывчатое вещество)3) разг.; = plastic card пластик, пластиковая карта
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