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1 Gewandtheit
f; nur Sg.1. agility2. skill; efficiency; smartness3. elegance; smoothness; fluency; gewandt II* * *die Gewandtheitdexterity; handiness; nimbleness; shiftiness; glibness; neatness; dexterousness; adroitness; address; urbanity; fluency* * *Ge|wạndt|heitf -, no plskilfulness (Brit), skillfulness (US); (von Körper) nimbleness; (= Geschicktheit) deftness, dexterity; (von Stil) elegance* * *die1) adroitness2) handiness3) (a skill: He has a great facility for always being right.) facility* * *Ge·wandt·heit<->f kein pl skill, skilfulnessdie \Gewandtheit eines Redners the articulateness [or skill] of a speakerdie \Gewandtheit einer Bewegung the agility of a movement* * *die; Gewandtheit: s. gewandt 2.: skill; skilfulness; agility; expertness; easiness* * *1. agility2. skill; efficiency; smartness* * *die; Gewandtheit: s. gewandt 2.: skill; skilfulness; agility; expertness; easiness* * *f.adroitness n.agility n.cleverness n.dexterity n.dexterousness n.elegance n.glibness n.handiness n.nimbleness n.position n.readiness n.savoir faire n. -
2 Anmut
f, -, kein Pl. grace(fulness), elegance; (Liebreiz) charm, loveliness, sweetness; sich mit oder voll Anmut bewegen move gracefully* * *die Anmutprettiness; gracefulness; grace; charm; comeliness* * *Ạn|mut ['anmuːt]f -, no plgrace; (= Grazie auch) gracefulness; (= Schönheit) beauty, loveliness; (von Landschaft, Gegenständen) charm, beauty* * *die1) comeliness2) gracefulness3) (beauty of form or movement: The dancer's movements had very little grace.) grace* * *An·mut<->[ˈanmu:t]f kein pl (geh)1. (Grazie) grace[fulness]2. (liebliche Schönheit) beauty, loveliness* * *die; Anmut (geh.) grace* * *voll Anmut bewegen move gracefully* * *die; Anmut (geh.) grace* * *nur sing. f.charm n.comeliness n.elegance n.grace n.gracefulness n. nur sing. m.amenity (personality) n. -
3 brío
m.1 zest, courage, energy, pep.2 determination.* * *1 (espíritu) spirit, verve; (de motor) go2 (pujanza) strength3 (resolución) determination4 (valentía) courage* * *SM1) (=ánimo) spirit, vervees hombre de bríos — he's a man of spirit, he's a man of mettle
2) (=decisión) determination3) (=elegancia) elegance* * *a) (ánimo, energía) spirittocaron el primer movimiento con gran brío — they played the first movement with great gusto o verve
luchó con brío — he fought with great spirit o determination
b) ( de caballo) spirit* * *= zest, verve, pizzazz, elan, oomph, thrust, pep.Ex. In the humanistic perspective, the concern is with potential, unique capabilities, and dignity -- with a dash of joy to add zest.Ex. Much of the verve and shimmer of her lyrics can be connected to the near-fatal liver abscess she suffered in 1996.Ex. I wanted to show them an application which not only was database functional, but which itself had some pizzazz as a website.Ex. It is a perky love story filmed with wonderful elan in black and white.Ex. Many recent commentators speak as if they think that computers can painlessly deliver the oomph we need in curriculum.Ex. The National IT plan proposes 7 building blocks each with a strategic thrust which will serve as the overall impetus for the national IT movement.Ex. Not a lot of pep however, so this might be the day to curl up with a really challenging book or game.* * *a) (ánimo, energía) spirittocaron el primer movimiento con gran brío — they played the first movement with great gusto o verve
luchó con brío — he fought with great spirit o determination
b) ( de caballo) spirit* * *= zest, verve, pizzazz, elan, oomph, thrust, pep.Ex: In the humanistic perspective, the concern is with potential, unique capabilities, and dignity -- with a dash of joy to add zest.
Ex: Much of the verve and shimmer of her lyrics can be connected to the near-fatal liver abscess she suffered in 1996.Ex: I wanted to show them an application which not only was database functional, but which itself had some pizzazz as a website.Ex: It is a perky love story filmed with wonderful elan in black and white.Ex: Many recent commentators speak as if they think that computers can painlessly deliver the oomph we need in curriculum.Ex: The National IT plan proposes 7 building blocks each with a strategic thrust which will serve as the overall impetus for the national IT movement.Ex: Not a lot of pep however, so this might be the day to curl up with a really challenging book or game.* * *1 (ánimo, energía) spiritun equipo joven y con bríos a young team with a lot of spiritla orquesta atacó el primer movimiento con gran brío the orchestra launched into the first movement with great gusto o vervecantaron con brío they sang with great energy o verve o gustoluchó con bríos he fought with great spirit o determination2 (de un caballo) spirit* * *
brío sustantivo masculino
◊ luchó con brío he fought with great spirit o determination
brío sustantivo masculino vigour, zeal, spirit: se puso a escalar con mucho brío, he started climbing very energetically
' brío' also found in these entries:
Spanish:
ímpetu
English:
get-up-and-go
- spirited
- spring
- verve
- zestfully
- zip
- gusto
- sprightly
* * *brío nm1. [energía, decisión] spirit;con brío spiritedly;trabajaba con mucho brío she was a very energetic worker2. [de caballo] spirit* * *m fig famverve, spirit* * *brío nm1) : force, determination2) : spirit, verve -
4 विलासः _vilāsḥ
विलासः 1 Sport, play, pastime.-2 Amorous pas- time, diversion, pleasure; as in विलासमेखला R.8.64; so विलासकाननम्, विलासमन्दिरम् &c.-3 Coquetry, dalliance, affectation, wantonness, graceful movement or play, any feminine gesture indicative of amorous sentiment; यातं यच्च नितम्बयोर्गुरुतया मन्दं विलासादिव Ś.2.2; कविकुलगुरुः कालि- दासो विलासः P. R.1.22; Śi.9.26.-4 Grace, beauty, elegance, charm; सहजविलासनिबन्धनं शरीरम् Māl.2.6.-5 Flash, gleam.-6 Liveliness, joviality (considered as a masculine virtue); शोभा विलासो माधुर्यं...... पौरुषा गुणाः Daśarupaka 2.1.-7 Lust.-Comp. -काननम् a pleasure-grove.-गृहम्, -मन्दिरम् a pleasure house.-चेष्टितम् amorous movement; लतासु तन्वीषु विलासचेष्टितम् Ku.5.13.-भित्तिः a wall (only) in appearance. -
5 καθάρειος
A cleanly, neat, tidy,τοὺς καθαρείους περὶ ὄψιν, περὶ ἀμπεχόνην, περὶ ὅλον τὸν βίον Arist.Rh. 1381b1
: - ιώτατόν (v.l. -ειότατόν) ἐστιτὸ ζῷον (i.e. the bee) Id.HA 626a24;καθάρειοι ταῖς διαίταις D.S.5.33
( καθάριοι codd.); οἱ καθαρειότεροι decent, respectable men, Phld.Rh.2.150S., Hierocl. p.63A. (-ριώτ-, -ρώτ- codd., em. Meineke); of things,ἐὰν ἡ σκευασία καθάρ<ε>ιος ᾖ Men.Phasm.Fr.2
; καθαριώτερα (or - ειότερα)ὅπλα Plb. 11.9.5
; τὸ κ., daintiness, of food, Plu.2.663c; κ. ἄρτος white bread, Sammelb. 5730 (iv/v A.D., sg.), PMag.Lond.46.230 (pl.); βίος, δίαιτα καθάρειος, refined, Ath.3.74d, Carm.Aur.35; ( καθαρά codd.). Adv. - είως cleanly, tidily,ἐγχέουσιν X.Cyr.1.3.8
, cf. Posidon.15J., Dsc.1.44; neatly,κ. εἰργασμένος Ph.Bel.76.27
; clearly,ὑποδεῖξαι Plb.15.5.5
; also, frugally,μὴ πολυτελῶς, ἀλλὰ καθαρείως Eub.110.1
, Ephipp.15.3, Nicostr.6.2;ἔχειν καθαρ<ε>ίως ἐγχελύδιον Amphis35
;μονοτροφοῦντες καθαρίως καὶ λιτῶς Str.3.3.6
; irreproachably, ἀναστραφεὶς ἀνδρήως καὶ καθαρήως (sic) AJA17.31 (Sardes, i B.C.).II Gramm. of language, pure, correct, ὄνομα Sch.Ar.Ach. 244; οἱ κ. purists, Archig. ap. Gal.8.578. [- ειος is written in Phld.Rh. l.c. ([comp] Comp.), PSI3.158.50 ([comp] Comp., iii A.D.), Phld.D.3.8, PMag.Lond. l.c., and required by metre in Eub., Nicostr., Carm.Aur., Il.cc.: - ιος never.] - ειότης, later [full] καθᾰριότης, ητος, ἡ, cleanliness, neatness, Hdt.2.37, X.Mem.2.1.22; purity,διαφέρει ἡ ὄψις ἁφῆς καθαρειότητι Arist.EN 1176a1
, cf. 1177a26;τοῦ ἀέρος Thphr.Sens.48
; purity of language, Plu.Lyc.21, S.E. M.1.176.3 elegance, refinement, τῇ κ. Κυπρίους.. [ὑπερέβαλε] Duris 10J.; opp. περιεργία, Plu.2.693b, cf. 142a, Crass.3; opp. λιτότης, Hierocl. in CA17p.457M.; also, simplicity, frugality,τῆς διαίτης Plu.2.644c
; economy of movement in a surgeon's hand, ib.67e.Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > καθάρειος
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6 Breuer, Marcel Lajos
[br]b. 22 May 1902 Pécs, Hungaryd. 1 July 1981 New York (?), USA[br]Hungarian member of the European Bauhaus generation in the 1920s, who went on to become a leader in the modern school of architectural and furniture design in Europe and the United States.[br]Breuer began his student days following an art course in Vienna, but joined the Bauhaus at Weimar, where he later graduated, in 1920. When Gropius re-established the school in purpose-built structures at Dessau, Breuer became a member of the teaching staff in charge of the carpentry and furniture workshops. Much of his time there was spent in design and research into new materials being applied to furniture and interior decoration. The essence of his contribution was to relate the design of furniture to industrial production; in this field he developed the tubular-steel structure, especially in chair design, and experimented with aluminium as a furniture material as well as pieces of furniture made up from modular units. His furniture style was characterized by an elegance of line and a careful avoidance of superfluous detail. By 1926 he had furnished the Bauhaus with such furniture in chromium-plated steel, and two years later had developed a cantilevered chair.Breuer left the Bauhaus in 1928 and set up an architectural practice in Berlin. In the early 1930s he also spent some time in Switzerland. Notable from these years was his Harnischmacher Haus in Wiesbaden and his apartment buildings in the Dolderthal area of Zurich. His architectural work was at first influenced by constructivism, and then by that of Le Corbusier (see Charles-Edouard Jeanneret). In 1935 he moved to England, where in partnership with F.R.S. Yorke he built some houses and continued to practise furniture design. The Isokon Furniture Co. commissioned him to develop ideas that took advantage of the new bending and moulding processes in laminated wood, one result being his much-copied reclining chair.In 1937, like so many of the European architectural refugees from Nazism, he found himself under-occupied due to the reluctance of English clients to embrace the modern architectural movement. He went to the United States at Gropius's invitation to join him as a professor at Harvard. Breuer and Gropius were influential in training a new generation of American architects, and in particular they built a number of houses. This partnership ended in 1941 and Breuer set up practice in New York. His style of work from this time on was still modern, but became more varied. In housing, he adapted his style to American needs and used local materials in a functional manner. In the Whitney Museum (1966) he worked in a sculptural, granite-clad style. Often he utilized a bold reinforced-concrete form, as in his collaboration with Pier Luigi Nervi and Bernard Zehrfuss in the Paris UNESCO Building (1953–8) and the US Embassy in the Hague (1954–8). He displayed his masterly handling of poured concrete used in a strikingly expressionistic, sculptural manner in his St John's Abbey (1953–61) in Collegeville, Minnesota, and in 1973 his Church of St Francis de Sale in Michigan won him the top award of the American Institute of Architects.[br]Principal Honours and DistinctionsAmerican Institute of Architects Medal of Honour 1964, Gold Medal 1968. Jefferson Foundation Medal 1968.Bibliography1955, Sun and Shadow, the Philosophy of an Architect, New York: Dodd Read (autobiography).Further ReadingC.Jones (ed.), 1963, Marcel Breuer: Buildings and Projects 1921–1961, New York: Praeger.T.Papachristou (ed.), 1970, Marcel Breuer: New Buildings and Projects 1960–1970, New York: Praeger.DY
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