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1 creative recognition
Юридический термин: конститутивное признание, признание как конститутивный акт -
2 creative recognition
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3 creative recognition
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4 creative recognition
визнання як конституційний акт, конститутивне визнання -
5 recognition
1. n узнавание; опознавание2. n сознание, осознание3. n признание, одобрение4. n юр. официальное признание; утверждение, санкция5. n приветствие6. n парл. предоставление словаrecognition of a speaker by the chair — предоставление председателем собрания слова желающему выступить
7. n воен. обнаружение, опознавание8. n юр. ист. расследование; судебное следствие9. n вчт. распознаваниеСинонимический ряд:1. acceptance (noun) acceptance; acknowledgement; acknowledgment; appreciation; credit; notice; renown2. identification (noun) apperception; assimilation; identification; recollection; remembrance -
6 recognition
1) признание2) последующее одобрение, последующее подтверждение•- recognition of governmentrecognition de facto — признание де факто;
- recognition of insurgency
- recognition of nation
- recognition of state
- conditional recognition
- creative recognition
- interstate recognition of divorce
- joint recognition
- legal recognition -
7 creative
творчий; конститутивний -
8 mutual recognition
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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 Bibliography
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Principles of teaching. New York: A. G. Seiler.■ Thorndike, E. L. (1970). Animal intelligence: Experimental studies. Darien, CT: Hafner Publishing Co. (Originally published in 1911.)■ Titchener, E. B. (1910). A textbook of psychology. New York: Macmillan.■ Titchener, E. B. (1914). A primer of psychology. New York: Macmillan.■ Toulmin, S. (1957). The philosophy of science. London: Hutchinson.■ Tulving, E. (1972). Episodic and semantic memory. In E. Tulving & W. Donaldson (Eds.), Organisation of memory. London: Academic Press.■ Turing, A. (1946). In B. E. Carpenter & R. W. Doran (Eds.), ACE reports of 1946 and other papers. Cambridge, MA: MIT Press.■ Turkle, S. (1984). Computers and the second self: Computers and the human spirit. New York: Simon & Schuster.■ Tyler, S. A. (1978). The said and the unsaid: Mind, meaning, and culture. New York: Academic Press.■ van Heijenoort (Ed.) (1967). From Frege to Goedel. Cambridge: Harvard University Press.■ Varela, F. J. (1984). The creative circle: Sketches on the natural history of circularity. In P. Watzlawick (Ed.), The invented reality (pp. 309-324). New York: W. W. Norton.■ Voltaire (1961). On the Penseґs of M. Pascal. In Philosophical letters (pp. 119-146). E. Dilworth (Trans.). Indianapolis: Bobbs-Merrill.■ Wagman, M. (1991a). Artificial intelligence and human cognition: A theoretical inter comparison of two realms of intellect. Westport, CT: Praeger.■ Wagman, M. (1991b). Cognitive science and concepts of mind: Toward a general theory of human and artificial intelligence. Westport, CT: Praeger.■ Wagman, M. (1993). Cognitive psychology and artificial intelligence: Theory and re search in cognitive science. Westport, CT: Praeger.■ Wagman, M. (1995). The sciences of cognition: Theory and research in psychology and artificial intelligence. Westport, CT: Praeger.■ Wagman, M. (1996). Human intellect and cognitive science: Toward a general unified theory of intelligence. Westport, CT: Praeger.■ Wagman, M. (1997a). Cognitive science and the symbolic operations of human and artificial intelligence: Theory and research into the intellective processes. Westport, CT: Praeger.■ Wagman, M. (1997b). The general unified theory of intelligence: Central conceptions and specific application to domains of cognitive science. Westport, CT: Praeger.■ Wagman, M. (1998a). Cognitive science and the mind- body problem: From philosophy to psychology to artificial intelligence to imaging of the brain. Westport, CT: Praeger.■ Wagman, M. (1998b). Language and thought in humans and computers: Theory and research in psychology, artificial intelligence, and neural science. Westport, CT: Praeger.■ Wagman, M. (1998c). The ultimate objectives of artificial intelligence: Theoretical and research foundations, philosophical and psychological implications. Westport, CT: Praeger.■ Wagman, M. (1999). The human mind according to artificial intelligence: Theory, re search, and implications. Westport, CT: Praeger.■ Wagman, M. (2000). Scientific discovery processes in humans and computers: Theory and research in psychology and artificial intelligence. Westport, CT: Praeger.■ Wall, R. (1972). Introduction to mathematical linguistics. Englewood Cliffs, NJ: Prentice-Hall.■ Wallas, G. (1926). The Art of Thought. New York: Harcourt, Brace & Co.■ Wason, P. (1977). Self contradictions. In P. Johnson-Laird & P. Wason (Eds.), Thinking: Readings in cognitive science. Cambridge: Cambridge University Press.■ Wason, P. C., & P. N. Johnson-Laird. (1972). Psychology of reasoning: Structure and content. Cambridge, MA: Harvard University Press.■ Watson, J. (1930). Behaviorism. New York: W. W. Norton.■ Watzlawick, P. (1984). Epilogue. In P. Watzlawick (Ed.), The invented reality. New York: W. W. Norton, 1984.■ Weinberg, S. (1977). The first three minutes: A modern view of the origin of the uni verse. New York: Basic Books.■ Weisberg, R. W. (1986). Creativity: Genius and other myths. New York: W. H. Freeman.■ Weizenbaum, J. (1976). Computer power and human reason: From judgment to cal culation. San Francisco: W. H. Freeman.■ Wertheimer, M. (1945). Productive thinking. New York: Harper & Bros.■ Whitehead, A. N. (1925). Science and the modern world. New York: Macmillan.■ Whorf, B. L. (1956). In J. B. Carroll (Ed.), Language, thought and reality: Selected writings of Benjamin Lee Whorf. Cambridge, MA: MIT Press.■ Whyte, L. L. (1962). The unconscious before Freud. New York: Anchor Books.■ Wiener, N. (1954). The human use of human beings. Boston: Houghton Mifflin.■ Wiener, N. (1964). God & Golem, Inc.: A comment on certain points where cybernetics impinges on religion. Cambridge, MA: MIT Press.■ Winograd, T. (1972). Understanding natural language. New York: Academic Press.■ Winston, P. H. (1987). Artificial intelligence: A perspective. In E. L. Grimson & R. S. Patil (Eds.), AI in the 1980s and beyond (pp. 1-12). Cambridge, MA: MIT Press.■ Winston, P. H. (Ed.) (1975). The psychology of computer vision. New York: McGrawHill.■ Wittgenstein, L. (1953). Philosophical investigations. Oxford: Basil Blackwell.■ Wittgenstein, L. (1958). The blue and brown books. New York: Harper Colophon.■ Woods, W. A. (1975). What's in a link: Foundations for semantic networks. In D. G. Bobrow & A. Collins (Eds.), Representations and understanding: Studies in cognitive science (pp. 35-84). New York: Academic Press.■ Woodworth, R. S. (1938). Experimental psychology. New York: Holt; London: Methuen (1939).■ Wundt, W. (1904). Principles of physiological psychology (Vol. 1). E. B. Titchener (Trans.). New York: Macmillan.■ Wundt, W. (1907). Lectures on human and animal psychology. J. E. Creighton & E. B. Titchener (Trans.). New York: Macmillan.■ Young, J. Z. (1978). Programs of the brain. New York: Oxford University Press.■ Ziman, J. (1978). Reliable knowledge: An exploration of the grounds for belief in science. Cambridge: Cambridge University Press.Historical dictionary of quotations in cognitive science > Bibliography
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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 PCR
1) Общая лексика: hum. сокр. Polymerase Chain Reaction2) Медицина: polymerase chain reaction (полимеразная цепная реакция, ПЦР), ПЦР (полимеразная цепная реакция), для ПЦР-диагностики (подробнее см. www.pcr.su), цепная реакция полимеразы3) Американизм: Postal Carrier Route, Previous Conference Record4) Спорт: Primary Contact Recreation5) Военный термин: Packet Completion Rate, Performance and Cost Report, planning change request, procedure change request, program change request, program control report, publication change request6) Техника: payload change out room, plant change request, point-contact rectifier, primary cosmic radiation, processor control register, protective coating report, pulse compression radar, ПХР (Плазмохимический реактор)7) Шутливое выражение: Politically Correct Rifle, Pretty Crazy Relatives8) Юридический термин: Post Creative Rationalization9) Биржевой термин: Put Call Ratio10) Оптика: photoconductive relay11) Телекоммуникации: Peak Cell Rate (ATM)12) Сокращение: Polymerase Chain Reaction (DNA test), Print Contrast Ratio (evaluation of text and barcode print quality)13) Физика: Preliminary Chain Reaction14) Физиология: protein catabolic rate15) Электроника: Principle component regression, Protective Coating Remover16) Вычислительная техника: peak cell rate, program clock reference, Processor Configuration Register (Motorola, CPU), Peak Cell Rate (UNI, ATM, SCR)17) Генетика: polymerase chain reaction18) Микробиология: ПЦР (полимеразная цепная реакция)19) Онкология: Pediatric Cancer Research, Prostate Cancer Research20) Пищевая промышленность: Pickled Cabbage Reserve21) Воздухоплавание: Positively Control Routes22) СМИ: Progressive Community Radio23) Деловая лексика: Personnel Calculation Rule24) SAP. правило расчёта зарплаты25) Глоссарий компании Сахалин Энерджи: preparatory check record26) Менеджмент: project control baseline27) Сетевые технологии: Preventive Cyclic Retransmission28) Автоматика: process-control robot29) Пластмассы: Post- Consumer Resin30) Сахалин Р: Process Control Room31) Сахалин Ю: project completion report32) Расширение файла: Program Control Register33) Типографика: Распределитель основного заряда на электрографическом проявителе (Primary Charge Roller)34) Электротехника: phase-controlled rectifier35) Майкрософт: скорость PCR36) Программное обеспечение: Pen Character Recognition37) Единицы измерений: Of Each Hundred -
13 Pcr
1) Общая лексика: hum. сокр. Polymerase Chain Reaction2) Медицина: polymerase chain reaction (полимеразная цепная реакция, ПЦР), ПЦР (полимеразная цепная реакция), для ПЦР-диагностики (подробнее см. www.pcr.su), цепная реакция полимеразы3) Американизм: Postal Carrier Route, Previous Conference Record4) Спорт: Primary Contact Recreation5) Военный термин: Packet Completion Rate, Performance and Cost Report, planning change request, procedure change request, program change request, program control report, publication change request6) Техника: payload change out room, plant change request, point-contact rectifier, primary cosmic radiation, processor control register, protective coating report, pulse compression radar, ПХР (Плазмохимический реактор)7) Шутливое выражение: Politically Correct Rifle, Pretty Crazy Relatives8) Юридический термин: Post Creative Rationalization9) Биржевой термин: Put Call Ratio10) Оптика: photoconductive relay11) Телекоммуникации: Peak Cell Rate (ATM)12) Сокращение: Polymerase Chain Reaction (DNA test), Print Contrast Ratio (evaluation of text and barcode print quality)13) Физика: Preliminary Chain Reaction14) Физиология: protein catabolic rate15) Электроника: Principle component regression, Protective Coating Remover16) Вычислительная техника: peak cell rate, program clock reference, Processor Configuration Register (Motorola, CPU), Peak Cell Rate (UNI, ATM, SCR)17) Генетика: polymerase chain reaction18) Микробиология: ПЦР (полимеразная цепная реакция)19) Онкология: Pediatric Cancer Research, Prostate Cancer Research20) Пищевая промышленность: Pickled Cabbage Reserve21) Воздухоплавание: Positively Control Routes22) СМИ: Progressive Community Radio23) Деловая лексика: Personnel Calculation Rule24) SAP. правило расчёта зарплаты25) Глоссарий компании Сахалин Энерджи: preparatory check record26) Менеджмент: project control baseline27) Сетевые технологии: Preventive Cyclic Retransmission28) Автоматика: process-control robot29) Пластмассы: Post- Consumer Resin30) Сахалин Р: Process Control Room31) Сахалин Ю: project completion report32) Расширение файла: Program Control Register33) Типографика: Распределитель основного заряда на электрографическом проявителе (Primary Charge Roller)34) Электротехника: phase-controlled rectifier35) Майкрософт: скорость PCR36) Программное обеспечение: Pen Character Recognition37) Единицы измерений: Of Each Hundred -
14 power
n1) сила; мощь; способность2) энергия3) власть, сила4) право, полномочия5) держава•to accord powers to smb — предоставлять полномочия кому-л.
to act outside one's powers — выходить за пределы своих полномочий
to assume power — брать власть в свои руки; приходить к власти
to bolster one's challenge to political power — усиливать свои притязания на политическую власть
to cede power to smb — уступать власть кому-л.
to check a country's power — преграждать путь мощи какой-л. страны
to come to power — приходить к власти; брать власть в свои руки
to concentrate all power in one's hands — сосредоточивать всю полноту власти в своих руках
to confirm smb in power — утверждать чье-л. назначение во главе государства
to delegate powers to smb — передавать / делегировать полномочия кому-л.
to do everything in one's legitimate power — делать все в пределах своей законной власти
to entrench oneself in power — закрепляться у власти
to exclude smb from power — не допускать кого-л. к власти
to exhibit one's full powers — предъявлять свои полномочия
to furnish smb with powers — предоставлять кому-л. полномочия
to gain power — захватывать власть; приходить к власти
to go beyond one's constitutional powers — превышать свои конституционные права
to hand over power to smb — передавать власть кому-л.
to lodge a great deal of power in smb's hands — сосредоточивать большую власть в чьих-л. руках
to lose one's power over smb — утрачивать власть над кем-л.
to preserve one's present power and privilege — сохранять свою власть и привилегии
to put too much power into smb's hands — наделять кого-л. слишком большой властью
to restore smb to power — восстанавливать кого-л. у власти
to share power with smb — разделять власть с кем-л.
to take power into one's hands — брать власть в свои руки
to take over power — приходить к власти; захватывать власть
to take some power away from smb — уменьшать чью-л. власть
to tighten one's grip on power — укреплять свою власть
to transfer power to smb — передавать власть кому-л.
to undermine smb's power — подрывать чью-л. власть
- absolute powerto win power — захватывать / завоевывать власть; приходить к власти
- abuse of power - administering power
- administrative power
- advent of power
- allied powers
- alternation of power
- alternative sources of power
- appointive power
- arrogance of power
- assumption of power
- atomic powers
- authoritarian power
- autocratic power
- Axis Powers - bid for greater powers
- bodies of power
- broad powers
- buying power
- capitalist power
- centralized power
- centrally organized political power
- change of power
- colonial power
- competitive power
- conquest of political power
- constituent power
- constitutional powers
- contender for power - dangerous power
- de facto power - decline in purchasing power - departure from power
- depleted power
- derogation of the powers
- detaining power
- deterrent power
- developing nuclear power
- devolution of power to the regions
- dictatorial powers
- discretionary power
- display of power
- division of power - electric power
- emergency powers
- emerging nuclear power
- Entente powers
- enumerated powers
- equilibrium of power
- executive power
- exercise of the power
- extension in power
- extension of powers
- extensive powers
- extra powers
- extra-constitutional powers
- fall from power
- federally generated power
- foreign power
- full powers
- general powers
- great power
- greater powers
- greater reliance on nuclear power
- grip on power
- handover of power
- hold on power
- imperial power
- imperialist power
- implied powers
- in power
- increased powers
- increased pressure on smb to relinquish power
- industrial power
- inherent powers
- inland power
- invincible power
- jockeying for power
- judicial power
- judiciary power
- labor power
- large powers
- leading power
- legal power
- legislative power
- limited powers
- limitless power
- long run of power
- lust for power
- major power
- majority power
- mandatory powers
- maritime power
- market power
- military power
- misuse of power
- monopoly of power
- monopoly power
- motive power
- naval power
- non-nuclear power
- nuclear power
- occupying power
- official powers - overthrow of smb's power
- Pacific power - peaceful transfer of power
- peace-loving power
- personal power
- plenary power
- plenipotentiary power
- political power
- popular power
- power has passed out of the hands of a party
- power is ebbing
- power of attorney
- power of influence
- power of organization
- power of recognition
- power of the law
- power of the purse
- power to sign
- powers of arrest and interrogation
- powers of internment
- powers of stop and search
- powers of the presidency
- powers that be
- powers to do smth
- principle power
- purchasing power
- push for power
- real power
- real purchasing power
- redistribution of power
- reduction in purchasing power
- reduction of smb's power
- regional power
- reins of power
- removal from power
- reserved power
- resurgence of military power
- retaliatory power
- return to power
- revolutionary power
- rise of power
- road to power
- royal power - signatory power
- source of power
- space power
- special powers
- specific powers
- state power
- strengthening of the economic and defense power of the state
- strengthening of the power
- strong executive powers
- struggle for power
- succession to power
- supreme power
- surrender of powers to smb
- sweeping powers
- switch of power from... to...
- the dollar's holding power
- the main power behind the throne
- third power
- time in power
- too much power is invested in the president
- trading power
- transfer of power to smb
- transforming power
- transition of power
- treaty-making power
- tutelary power
- under existing powers
- unlimited power
- untrammeled power
- unwarranted power
- usurpation of power
- vast powers
- verification of powers
- vested with broad powers
- veto powers
- victorious powers
- war powers
- Western Powers
- wide powers
- with deciding voting power
- world power -
15 system
1) система2) устройствоАнгло-русский словарь по полиграфии и издательскому делу > system
См. также в других словарях:
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