domestic+concept

1 trite, hackneyed, cliché.

2 shop-worn, worn.

3 gamey, gamy.

4 full, swarming.

past participle of spanish verb: manir.

* * *

► adjetivo

1 (frase) hackneyed; (tema) stale

2 (objeto) well-worn

* * *

1) (=trillado) [tema] trite, stale; [frase] hackneyed

2) (=pasado) [carne] high, gamy; [frutos secos] stale

* * *

- da adjetivo < frase> hackneyed; < tema> stale

* * *

= rank, hackneyed, worn, well-worn, jaded, overused [over-used], overworked, stale, timeworn.

Ex. And what I'm trying to suggest is that there's something shameful about a profession that has allowed this kind of blatant and rank ethnocentrism, racism, chauvinism, the whole schmier, to persist this long.

Ex. It is the order of words that helps us to distinguish between 'office post' and 'post office' or, to quote the hackneyed example, 'blind Venetian' and 'Venetian blind'.

Ex. Mearns warns us, 'Recollection is treacherous; it is usually too broad or too narrow for another's use; and what is more serious, it is frequently undependable and worn and feeble'.

Ex. To use a well-worn example, the string (2) physiotherapy (6) nurses $h for (6) bibliographies obviously represents a different sense from the similar string (2) physiotherapy (6) bibliographies (6) nurses $h for.

Ex. He is notorious for poking fun at those who advance jaded, esoteric ideas about the importance of studying classical languages.

Ex. Sustainable agriculture has become a very over-used concept.

Ex. User-friendliness is a much overworked phrase which has been interpreted in different ways by software houses.

Ex. We librarians are already infiltrators into the stale round of our readers' domestic daily life.

Ex. This is in stark contrast to the warped logic and timeworn language to which Lebanon's rulers resorted in the wake of the tragedy.

----

* composición musical manida = war horse.

* manido, lo = worn, the.

* * *

- da adjetivo < frase> hackneyed; < tema> stale

* * *

* * *

‹frase› hackneyed; ‹tema› stale

* * *

◊ -da adjetivo ‹ frase› hackneyed;

* * *

manido, -a adj

un tema muy manido a well-worn o much-discussed topic

* * *

adj fig

clichéd, done to death fam

* * *

manido, -da adj

: hackneyed, stale, trite

1 to represent.

este cuadro representa la Última Cena this painting depicts the Last Supper

Ellos representan campiñas They depict fields.

María representa a la madrastra Mary plays the part of the stepmom.

Esto representa lo malo This represents the bad.

2 to represent (actuar en nombre de alguien).

representa a varios artistas she acts as an agent for several artists

3 to look.

representa unos 40 años she looks about 40

4 to mean.

representa el 50 por ciento del consumo interno it accounts for 50 percent of domestic consumption

representa mucho para él it means a lot to him

5 to perform (Teatro) (función).

6 to act out, to represent, to act.

Ella representó bien esa escena She acted the scene out very well.

7 to act in someone's representation, to represent, to act in behalf of, to act in representation of.

María representa a Ricardo Mary acts in John's representation.

* * *

► verbo transitivo

1 (gen) to represent

■ esto representa un árbol this represents a tree

■ esta redacción representa varias horas de trabajo this composition represents several hours of work

2 (símbolo) to represent, stand for

■ una paloma representa la paz a dove stands for peace

3 TEATRO (obra) to perform; (papel) to play (the part of)

4 (aparentar) to appear to be, look

■ representa veinte años she looks twenty

5 (importar) to mean

■ la música representaba mucho para él music meant a lot to him

► verbo pronominal representarse

1 (imaginarse) to imagine, picture

* * *

1) to represent

2) perform

3) portray

•

- representarse

* * *

1. VT

1) (=actuar en nombre de) [+ país, votantes] to represent; [+ cliente, acusado] to act for, represent

2) (=simbolizar) to symbolize, represent

3) (=reproducir) to depict

4) (=equivaler a) [+ porcentaje, mejora, peligro] to represent; [+ amenaza] to pose, represent

5) (=requerir) [+ trabajo, esfuerzo, sacrificio] to involve

6) (Teat) [+ obra] to perform; [+ papel] to play

7) (=aparentar) [+ edad] to look

8) (=hacer imaginar) to point out

representarse

* * *

verbo transitivo

1) <persona/organización/país> to represent

2) < obra> to perform, put on

3) ( aparentar) to look

4) ( simbolizar) to symbolize

5) ( reproducir) dibujo/fotografía/escena to show, depict; obra/novela to portray, depict

6) (equivaler a, significar) to represent

representarse v pron to picture, imagine

* * *

= account for, act out, become + cast, depict, depict, embody, package, represent, stage, stand for, render, portray, symbolise [symbolize, -USA], enact, dramatise [dramatize, -USA], plot, chart, map, incarnate, stand as, betoken, picture, construct, encapsulate.

Ex. The major four categories of physical forms outlined so far account for most of the published indexes and catalogues.

Ex. The use of the form connotes peculiarity (the people so described are acting out a somewhat inappropriate role) and passiveness (they are not actively participating in that role).

Ex. Any action that is repeated frequently become cast into a pattern which can be reproduced with an economy of effort which, ipso facto, is apprehended by its performer as a pattern.

Ex. Trial procedures aiming to increase service recognition and service usage, and the evaluation thereof, are then depicted.

Ex. A globe is a model of a celestial body, usually the earth or the celestial sphere, depicted on the surface of a sphere.

Ex. In alphabetical indexing languages, such as are embodied in thesauri and subject headings lists, subject terms are the alphabetical names of the subjects.

Ex. Documents rarely exactly match a user's requirements because information can be packaged in almost as many different ways as there are participants in a subject area.

Ex. Cartographic materials are, according to AACR2, all the materials that represent, in whole or in part, the earth or any celestial body.

Ex. Book shops also participated by staging similar special features.

Ex. MARC stands for Machine Readable Cataloguing.

Ex. The eventuality is, admittedly, remote but it is also necessary to render the imprint statement in this amount of detail.

Ex. Hardy had a tragic vision of life and that indeed is what the novels portray.

Ex. The library symbolises freedom for the reader to pursue his own desires, however inchoate.

Ex. The author describes how, as a teacher, she introduced pre-school children to books by reading to them, and developed older children's critical interest by reading, discussing and enacting popular fables.

Ex. This article describes how a group of 12-18 teenage volunteers formed a group to dramatise children's books for young children and their parents at a public library.

Ex. The technique 'Trend Projection' graphically plots future trends based on past experience.

Ex. This article describes how Australia was depicted on early maps of the world charted by the Portuguese and Dutch seafarers from 1452 to the present day.

Ex. Defining a revolution in progress is like mapping the lava flow from an active volcano well nigh impossible and extremely dangerous.

Ex. For them, it incarnated modernity and materialism, civilization rather than culture, materialism rather than spiritualism.

Ex. Meantime, our new library stand as as a confident symbol of the importance of ALL librarires to the nation's cultural, educational and economic success.

Ex. The faintly irritating moralising tone of this book betokens a real human interest, which must be recovered if there is to be a dialogue of real content.

Ex. In most cases authors pictured incest as an assault against the innocent, but they often saw the abuser, especially the father, as a victim of himself and he is rarely punished with prison.

Ex. It is argued that newspaper reporting of bigamy constructs bigamists as being a threat to the institution of marriage.

Ex. The Manifesto encapsulates the principles and priorities of public libraries in widely varying contexts.

----

* estar demasiado representado = overrepresent.

* imposible de representar = unmappable.

* que no representa reto = unchallenging.

* representar a = act for.

* representar con una gráfica = graph.

* representar en exceso = overrepresent.

* representar en mente = visualise [visualize, -USA].

* representar gráficamente = map.

* representar insuficientemente = underrepresent [under-represent].

* representar la diferencia entre... y = represent + the difference between... and.

* representar mal = misrepresent.

* representar una idea = dramatise + idea.

* representar una obra = put on + performance, put on + play.

* representar un peligro = pose + danger.

* término que representa un único concepto = one concept term.

* volver a representar = remap.

* * *

verbo transitivo

1) <persona/organización/país> to represent

2) < obra> to perform, put on

3) ( aparentar) to look

4) ( simbolizar) to symbolize

5) ( reproducir) dibujo/fotografía/escena to show, depict; obra/novela to portray, depict

6) (equivaler a, significar) to represent

representarse v pron to picture, imagine

* * *

* * *

representar [A1 ]

A ‹persona/organización/país› to represent

no estaba representado por un abogado he was not represented by a lawyer

representó a Suecia en los campeonatos he represented Sweden in the championships, he played ( o swam etc) for Sweden in the championships

los que no puedan asistir deben hacerse representar por alguien those who cannot attend should send a representative o proxy

B ‹obra› to perform, put on; ‹papel› to play

representó el papel de Cleopatra she played Cleopatra o the part of Cleopatra

C (aparentar) to look

no representa la edad que tiene he doesn't look the age he is

representa unos cuarenta años she looks about forty

no representa lo que costó it doesn't look as expensive as it was

D (simbolizar) to symbolize

la paloma representa la paz the dove symbolizes o is a symbol of peace

E (reproducir) «dibujo/fotografía» to show, depict

la medalla representa a la Virgen the medallion depicts the Virgin Mary

la escena representa una calle de los arrabales the scene shows o depicts a street in the poor quarters

la obra representa fielmente la sociedad de fines de siglo the play accurately portrays society at the turn of the century

F (equivaler a, significar) to represent

esto representa un aumento del 5% con respecto al año pasado this represents a 5% increase on last year

para él no representa ningún sacrificio it's no sacrifice for him

nos representa un gasto inesperado it means o involves an unexpected expense

introducir la modificación representaría tres días de trabajo introducing the modification would mean o involve three days' work

to picture

¿te lo puedes representar sin barba? can you picture o imagine him without a beard?

* * *

◊ no representa su edad he doesn't look his age

◊ esto representa un aumento del 5% this represents a 5% increase;

* * *

representar vt

1. [simbolizar, ejemplificar] to represent;

este cuadro representa la Última Cena this painting depicts the Last Supper;

la coma representa los decimales the comma indicates decimal places;

Dalí representa perfectamente el surrealismo Dali is the ultimate surrealist painter

2. [actuar en nombre de] to represent;

el delegado sindical representaba a sus compañeros the shop steward represented his fellow workers;

ha participado en dos festivales representando a su país she has represented her country at two festivals;

representa a varios artistas she acts as an agent for several artists

3. [aparentar] to look;

representa unos cuarenta años she looks about forty;

representa muchos menos años de los que tiene she looks a lot younger than she is

4. [significar] to mean;

representa el 50 por ciento del consumo interno it accounts for 50 percent of domestic consumption;

diez millones no representan nada para él ten million is nothing to him;

representa mucho para él it means a lot to him

5. Teatro [función] to perform;

6. Com to represent

* * *

1 ( simbolizar) represent

2 obra put on, perform; papel play

3 ( aparentar)

representar menos años look younger

* * *

representar vt

1) : to represent, to act for

2) : to perform

3) : to look, to appear as

4) : to symbolize, to stand for

5) : to signify, to mean

♦ See also the reflexive verb representarse

* * *

representar vb

1. (un papel) to play

2. (una obra) to perform

3. (simbolizar) to represent

4. (actuar en nombre de otro) to represent

5. (aparentar) to look

1 hackneyed, cliché, timeworn, trite.

2 well-trodden, footworn, beaten, threshed.

3 common, everyday.

past participle of spanish verb: trillar.

* * *

► participio pasado

1→ link=trillar trillar

► adjetivo

1 (camino) beaten, well-trodden

2 figurado (expresión etc) overworked, well-worn

* * *

1. ADJ

1) (Agr) threshed

2) [camino] well-trodden

3) [tema] (=gastado) well-worn, hackneyed; (=conocido) well-known

2. SM

1) (=investigación) thorough investigation

2) Caribe (=sendero) path, track

* * *

- da adjetivo hackneyed, trite

* * *

= well trodden, hackneyed, well-worn, well-tread, overused [over-used], overworked, stale, timeworn.

Ex. Like Theseus in the Labyrinth we need to be able to follow well trodden pathways through hypermedia materials and re-track our journey along an imaginary thread when we get lost.

Ex. It is the order of words that helps us to distinguish between 'office post' and 'post office' or, to quote the hackneyed example, 'blind Venetian' and 'Venetian blind'.

Ex. To use a well-worn example, the string (2) physiotherapy (6) nurses $h for (6) bibliographies obviously represents a different sense from the similar string (2) physiotherapy (6) bibliographies (6) nurses $h for.

Ex. All the contributions provide well-articulated, fresh insights, even on well-tread subjects.

Ex. Sustainable agriculture has become a very over-used concept.

Ex. User-friendliness is a much overworked phrase which has been interpreted in different ways by software houses.

Ex. We librarians are already infiltrators into the stale round of our readers' domestic daily life.

Ex. This is in stark contrast to the warped logic and timeworn language to which Lebanon's rulers resorted in the wake of the tragedy.

----

* camino trillado = beaten road.

* trillado, lo = tired, the, worn, the.

* * *

- da adjetivo hackneyed, trite

* * *

* * *

hackneyed, trite

* * *

el participio

* * *

trillado, -a adj

fuera de los caminos trillados off the beaten track

* * *

adj fig

hackneyed, clichéd

* * *

trillado, -da adj

: trite, hackneyed

SUBJECT AREA: Civil engineering, Domestic appliances and interiors, Land transport, Mechanical, pneumatic and hydraulic engineering, Public utilities

[br]

[br]

[br]

Bramah was the son of a tenant farmer and was educated at the village school before being apprenticed to a local carpenter, Thomas Allot. He walked to London c.1773 and found work with a Mr Allen that included the repair of some of the comparatively rare water-closets of the period. He invented and patented one of his own, which was followed by a water cock in 1783. His next invention, a greatly improved lock, involved the devising of a number of special machine tools, for it was one of the first devices involving interchangeable components in its manufacture. In this he had the help of Henry Maudslay, then a young and unknown engineer, who became Bramah's foreman before setting up business on his own. In 1784 he moved his premises from Denmark Street, St Giles, to 124 Piccadilly, which was later used as a showroom when he set up a factory in Pimlico. He invented an engine for putting out fires in 1785 and 1793, in effect a reciprocating rotary-vane pump. He undertook the refurbishment and modernization of Norwich waterworks c.1793, but fell out with Robert Mylne, who was acting as Consultant to the Norwich Corporation and had produced a remarkably vague specification. This was Bramah's only venture into the field of civil engineering.

In 1797 he acted as an expert witness for Hornblower \& Maberley in the patent infringement case brought against them by Boulton and Watt. Having been cut short by the judge, he published his proposed evidence in "Letter to the Rt Hon. Sir James Eyre, Lord Chief Justice of the Common Pleas…etc". In 1795 he was granted his most important patent, based on Pascal's Hydrostatic Paradox, for the hydraulic press which also incorporated the concept of hydraulics for the transmission of both power and motion and was the foundation of the whole subsequent hydraulic industry. There is no truth in the oft-repeated assertion originating from Samuel Smiles's Industrial Biography (1863) that the hydraulic press could not be made to work until Henry Maudslay invented the self-sealing neck leather. Bramah used a single-acting upstroking ram, sealed only at its base with a U-leather. There was no need for a neck leather.

He also used the concept of the weight-loaded, in this case as a public-house beer-engine. He devised machinery for carbonating soda water. The first banknote-numbering machine was of his design and was bought by the Bank of England. His development of a machine to cut twelve nibs from one goose quill started a patent specification which ended with the invention of the fountain pen, patented in 1809. His coach brakes were an innovation that was followed bv a form of hydropneumatic carriage suspension that was somewhat in advance of its time, as was his patent of 1812. This foresaw the introduction of hydraulic power mains in major cities and included the telescopic ram and the air-loaded accumulator.

In all Joseph Bramah was granted eighteen patents. On 22 March 1813 he demonstrated a hydraulic machine for pulling up trees by the roots in Hyde Park before a large crowd headed by the Duke of York. Using the same machine in Alice Holt Forest in Hampshire to fell timber for ships for the Navy, he caught a chill and died soon after at his home in Pimlico.

[br]

SUBJECT AREA: Architecture and building

[br]

[br]

[br]

Wright began his career in 1887 working in the Chicago offices of Adler \& Sullivan. He conceived a great admiration for Sullivan, who was then concentrating upon large commercial projects in modern mode, producing functional yet decorative buildings which took all possible advantage of new structural methods. Wright was responsible for many of the domestic commissions.

In 1893 Wright left the firm in order to set up practice on his own, thus initiating a career which was to develop into three distinct phases. In the first of these, up until the First World War, he was chiefly designing houses in a concept in which he envisaged "the house as a shelter". These buildings displayed his deeply held opinion that detached houses in country areas should be designed as an integral part of the landscape, a view later to be evidenced strongly in the work of modern Finnish architects. Wright's designs were called "prairie houses" because so many of them were built in the MidWest of America, which Wright described as a "prairie". These were low and spreading, with gently sloping rooflines, very plain and clean lined, built of traditional materials in warm rural colours, blending softly into their settings. Typical was W.W.Willit's house of 1902 in Highland Park, Illinois.

In the second phase of his career Wright began to build more extensively in modern materials, utilizing advanced means of construction. A notable example was his remarkable Imperial Hotel in Tokyo, carefully designed and built in 1916–22 (now demolished), with special foundations and structure to withstand (successfully) strong earthquake tremors. He also became interested in the possibilities of reinforced concrete; in 1906 he built his church at Oak Park, Illinois, entirely of this material. In the 1920s, in California, he abandoned his use of traditional materials for house building in favour of precast concrete blocks, which were intended to provide an "organic" continuity between structure and decorative surfacing. In his continued exploration of the possibilities of concrete as a building material, he created the dramatic concept of'Falling Water', a house built in 1935–7 at Bear Run in Pennsylvania in which he projected massive reinforced-concrete terraces cantilevered from a cliff over a waterfall in the woodlands. In the later 1930s an extraordinary run of original concepts came from Wright, then nearing 70 years of age, ranging from his own winter residence and studio, Taliesin West in Arizona, to the administration block for Johnson Wax (1936–9) in Racine, Wisconsin, where the main interior ceiling was supported by Minoan-style, inversely tapered concrete columns rising to spreading circular capitals which contained lighting tubes of Pyrex glass.

Frank Lloyd Wright continued to work until four days before his death at the age of 91. One of his most important and certainly controversial commissions was the Solomon R.Guggenheim Museum in New York. This had been proposed in 1943 but was not finally built until 1956–9; in this striking design the museum's exhibition areas are ranged along a gradually mounting spiral ramp lit effectively from above. Controversy stemmed from the unusual and original design of exterior banding and interior descending spiral for wall-display of paintings: some critics strongly approved, while others, equally strongly, did not.

[br]

SUBJECT AREA: Chemical technology, Mining and extraction technology, Weapons and armour

[br]

[br]

[br]

The son of a barber-surgeon who deserted his family to serve in the Swedish army, Nobel showed little interest in academic pursuits as a child and was sent to sea at the age of 16, but jumped ship in Egypt and was eventually employed as an architect by the pasha. Returning to Sweden, he won a scholarship to the Stockholm School of Architecture, where he studied from 1821 to 1825 and was awarded a number of prizes. His interest then leaned towards mechanical matters and he transferred to the Stockholm School of Engineering. Designs for linen-finishing machines won him a prize there, and he also patented a means of transforming rotary into reciprocating movement. He then entered the real-estate business and was successful until a fire in 1833 destroyed his house and everything he owned. By this time he had married and had two sons, with a third, Alfred (of Nobel Prize fame; see Alfred Nobel), on the way. Moving to more modest quarters on the outskirts of Stockholm, Immanuel resumed his inventions, concentrating largely on India rubber, which he applied to surgical instruments and military equipment, including a rubber knapsack.

It was talk of plans to construct a canal at Suez that first excited his interest in explosives. He saw them as a means of making mining more efficient and began to experiment in his backyard. However, this made him unpopular with his neighbours, and the city authorities ordered him to cease his investigations. By this time he was deeply in debt and in 1837 moved to Finland, leaving his family in Stockholm. He hoped to interest the Russians in land and sea mines and, after some four years, succeeded in obtaining financial backing from the Ministry of War, enabling him to set up a foundry and arms factory in St Petersburg and to bring his family over. By 1850 he was clear of debt in Sweden and had begun to acquire a high reputation as an inventor and industrialist. His invention of the horned contact mine was to be the basic pattern of the sea mine for almost the next 100 years, but he also created and manufactured a central-heating system based on hot-water pipes. His three sons, Ludwig, Robert and Alfred, had now joined him in his business, but even so the outbreak of war with Britain and France in the Crimea placed severe pressures on him. The Russians looked to him to convert their navy from sail to steam, even though he had no experience in naval propulsion, but the aftermath of the Crimean War brought financial ruin once more to Immanuel. Amongst the reforms brought in by Tsar Alexander II was a reliance on imports to equip the armed forces, so all domestic arms contracts were abruptly cancelled, including those being undertaken by Nobel. Unable to raise money from the banks, Immanuel was forced to declare himself bankrupt and leave Russia for his native Sweden. Nobel then reverted to his study of explosives, particularly of how to adapt the then highly unstable nitroglycerine, which had first been developed by Ascanio Sobrero in 1847, for blasting and mining. Nobel believed that this could be done by mixing it with gunpowder, but could not establish the right proportions. His son Alfred pursued the matter semi-independently and eventually evolved the principle of the primary charge (and through it created the blasting cap), having taken out a patent for a nitroglycerine product in his own name; the eventual result of this was called dynamite. Father and son eventually fell out over Alfred's independent line, but worse was to follow. In September 1864 Immanuel's youngest son, Oscar, then studying chemistry at Uppsala University, was killed in an explosion in Alfred's laboratory: Immanuel suffered a stroke, but this only temporarily incapacitated him, and he continued to put forward new ideas. These included making timber a more flexible material through gluing crossed veneers under pressure and bending waste timber under steam, a concept which eventually came to fruition in the form of plywood.

In 1868 Immanuel and Alfred were jointly awarded the prestigious Letterstedt Prize for their work on explosives, but Alfred never for-gave his father for retaining the medal without offering it to him.

[br]