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61 horse
1. n лошадь, коньto mount a horse, to take horse — сесть на лошадь; поехать верхом
to get off a horse — слезть с лошади, спешиться
to horse! — по коням!, садись!
the winged horse — крылатый конь, Пегас
2. n зоол. представитель семейства лошадиных3. n жеребец; мерин4. n груб. жеребец, кобель5. n кавалерия, конницаhorse cavalry — кавалерия, конница
6. n рама, станок, козлы; подставка7. n рама или подставка для сушки одеждыstanhope horse — лошадь, пригодная для лёгкого экипажа
8. n геол. ингрессия; включение пустой породы в рудеthe horse hurdled both the fence and the ditch — лошадь перескочила и через забор, и через ров
9. n мор. леер10. n шахм. разг. коньhorse sideways — гимнастический конь, установленный в ширину
11. n амер. студ. жарг. шпаргалка,12. n «рыба»лошадиная сила, «лошадка»
13. n амер. сл. наркотик14. n воен. ист. таранhold your horses! — не волнуйся!, потише!;
come off your high horse! — брось задаваться!, перестань важничать!
15. a лошадиный, конскийhorse harness — конская упряжь; лошадиная сбруя
16. a конныйhorse hoe — конный пропашник, конная мотыга
horse ranch — коневодческое хозяйство; конный завод
horse marine — конный моряк, «моряк в седле»
17. a кавалерийскийhorse troops — кавалерийские войска, кавалерия
horse soldier — кавалерист; конник; конный воин
18. a грубый; большойhorse joke — грубая шутка, непристойный анекдот
horse laugh — грубый громкий хохот, гогот; ржание
19. v поставлять лошадей20. v запрягать; заложитьto horse a carriage — заложить карету; запрягать
21. v садиться на лошадь; вскочить на коня; ехать верхом22. v сажать на коня23. v носить на спине24. v сажать на спину25. v редк. пороть26. v редк. нещадно погонять, изнурять работой27. v амер. разг. издеваться; разыгрывать, вышучивать28. v амер. разг. таскать за собой, вовлекать в возню; играть в лошадкиdark horse — "темная лошадка"
29. v амер. разг. шумно разыгрывать30. v амер. разг. требовать плату за несделанную работу31. v амер. разг. покрывать32. v амер. разг. случать33. v амер. разг. находиться в периоде течки34. v амер. разг. неприст. совершать половой актСинонимический ряд:1. equine animal (noun) charger; Clydesdale; cob; courser; equine animal; gelding; mare; mount; pony; stallion2. sawhorse (noun) buck; sawbuck; sawhorse; trestle; workhorse3. cut up (verb) act up; carry on; cut up; horseplay -
62 made
1. a сделанный, приготовленный, изготовленныйmade of oak — дубовый; сделанный из дуба
2. a составнойmade dish — ассорти, сборное блюдо
3. a искусственныйmade work — специальные работы ; общественные работы
4. a эл. замкнутыйСинонимический ряд:1. composed (adj.) combined; composed; created; designed; written2. fabricated (adj.) built; fabricated; fashioned; finished; formed; manufactured; shaped3. cleared (verb) cleaned up; cleared; gained; netted4. constituted (verb) composed; comprised; constituted; formed; made up; make up5. designated (verb) appointed; designated; fingered; named; nominated; tapped6. drafted (verb) drafted; drew up/drawn up; formulated; framed7. earned (verb) acquired; brought in; draw down; drew down/drawn down; earned; got; knocked down; pull down; won8. effected (verb) bring about; brought about; caused; drew on/drawn on; effected; effectuated; engendered; induced; lead to; occasioned; produced; result in; secured9. established (verb) enacted; established; legislated10. fathered (verb) created; fathered; generated; hatched; originated; parented; procreated; sired; spawned11. forced (verb) coerced; compelled; constrained; forced; obliged; pressured; shotgunned12. headed (verb) bore; bore/borne; headed; lighted out or lit out; set out; strike out; struck out; took off/taken off; went13. inferred (verb) collected; concluded; deduced; deducted; derived; drew/drawn; gathered; inferred; judged; made out14. passed (verb) covered; passed; traversed15. prepared (verb) fitted; fixed; got/got or gotten; prepared; readied16. ran/run (verb) extended; ran/run; reached; stretched; went/gone17. shaped (verb) assembled; built; constructed; erected; fabricated; fashioned; forged; manufactured; molded; moulded; put together; shaped -
63 mock
1. n редк. осмеяние2. n редк. насмешка3. n редк. посмешище4. n редк. подражание, копирование; пародия; подделка5. a поддельный; фальшивый; суррогатныйmock lead — сфалерит, цинковая обманка
6. a мнимый, ложный, притворный7. a проверочный8. a воен. учебныйmock battle — учебный бой; тактическое учение
9. a шуточный; пародийный10. a как компонент сложных слов притворный, ложный11. v насмехаться; высмеивать, осмеивать; издеватьсяmock at — насмехаться; насмеяться
12. v передразнивать; пародировать13. v не оправдывать надежд14. v сводить на нет; делать бесполезным, бесплодным15. v уст. симулировать; притворятьсяСинонимический ряд:1. artificial (adj.) artificial; counterfeit; dummy; ersatz; fake; false; feigned; fictitious; forged; fraudulent; imitation; pretended; sham; simulated; spurious; substitute; synthetic2. farce (noun) burlesque; caricature; farce; mockery; parody; sham; travesty3. laughingstock (noun) butt; derision; jest; jestee; joke; laughingstock; pilgarlic; sport4. deceive (verb) beguile; betray; bluff; cozen; deceive; delude; double-cross; four-flush; humbug; illude; juggle; mislead; sell out; suck in; take in; two-time5. defy (verb) brave; challenge; dare; defy6. mimic (verb) ape; burlesque; caricature; imitate; mime; mimic; parody; take off; travesty7. ridicule (verb) banter; chaff; deride; flout; gibe; gibe at; jeer; jeer at; laugh at; lout; make sport of; quiz; rally; razz; ridicule; scoff; scorn; scout; sneer at; taunt; twitАнтонимический ряд:admire; applaud; authentic; compliment; honour; praise; respect; salute; support; welcome -
64 заготовка
1. ж. bar; billet; bloom; slab2. ж. feed3. ж. blank -
65 резец
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66 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. -
67 e-alliance
E-coma partnership forged between organizations in order to achieve business objectives, for enterprises conducted over the Web. There has been a surge in such alliances since the Internet took off in the mid-1990s, and studies show that the most successful have been those involving traditional offline businesses and online entities—the clicks-and-mortar strategy—such as that between Amazon.com and Toys ’R’ Us. Toys ’R’ Us had the physical infrastructure and brand, while Amazon.com had the online infrastructure and experience of making e-commerce work. -
68 Perkins, Jacob
[br]b. 9 July 1766 Newburyport, Massachusetts, USAd. 30 July 1849 London, England[br]American inventor of a nail-making machine and a method of printing banknotes, investigator of the use of steam at very high pressures.[br]Perkins's occupation was that of a gold-and silversmith; while he does not seem to have followed this after 1800, however, it gave him the skills in working metals which he would continue to employ in his inventions. He had been working in America for four years before he patented his nail-making machine in 1796. At the time there was a great shortage of nails because only hand-forged ones were available. By 1800, other people had followed his example and produced automatic nail-making machines, but in 1811 Perkins' improved machines were introduced to England by J.C. Dyer. Eventually Perkins had twenty-one American patents for a range of inventions in his name.In 1799 Perkins invented a system of engraving steel plates for printing banknotes, which became the foundation of modern siderographic work. It discouraged forging and was adopted by many banking houses, including the Federal Government when the Second United States Bank was inaugurated in 1816. This led Perkins to move to Philadelphia. In the intervening years, Perkins had improved his nail-making machine, invented a machine for graining morocco leather in 1809, a fire-engine in 1812, a letter-lock for bank vaults and improved methods of rolling out spoons in 1813, and improved armament and equipment for naval ships from 1812 to 1815.It was in Philadelphia that Perkins became interested in the steam engine, when he met Oliver Evans, who had pioneered the use of high-pressure steam. He became a member of the American Philosophical Society and conducted experiments on the compressibility of water before a committee of that society. Perkins claimed to have liquified air during his experiments in 1822 and, if so, was the real discoverer of the liquification of gases. In 1819 he came to England to demonstrate his forgery-proof system of printing banknotes, but the Bank of England was the only one which did not adopt his system.While in London, Perkins began to experiment with the highest steam pressures used up to that time and in 1822 took out his first of nineteen British patents. This was followed by another in 1823 for a 10 hp (7.5 kW) engine with only 2 in. (51 mm) bore, 12 in. (305 mm) stroke but a pressure of 500 psi (35 kg/cm2), for which he claimed exceptional economy. After 1826, Perkins abandoned his drum boiler for iron tubes and steam pressures of 1,500 psi (105 kg/cm2), but the materials would not withstand such pressures or temperatures for long. It was in that same year that he patented a form of uniflow cylinder that was later taken up by L.J. Todd. One of his engines ran for five days, continuously pumping water at St Katherine's docks, but Perkins could not raise more finance to continue his experiments.In 1823 one his high-pressure hot-water systems was installed to heat the Duke of Wellington's house at Stratfield Saye and it acquired a considerable vogue, being used by Sir John Soane, among others. In 1834 Perkins patented a compression ice-making apparatus, but it did not succeed commercially because ice was imported more cheaply from Norway as ballast for sailing ships. Perkins was often dubbed "the American inventor" because his inquisitive personality allied to his inventive ingenuity enabled him to solve so many mechanical challenges.[br]Further ReadingHistorical Society of Pennsylvania, 1943, biography which appeared previously as a shortened version in the Transactions of the Newcomen Society 24.D.Bathe and G.Bathe, 1943–5, "The contribution of Jacob Perkins to science and engineering", Transactions of the Newcomen Society 24.D.S.L.Cardwell, 1971, From Watt to Clausius. The Rise of Thermodynamics in the Early Industrial Age, London: Heinemann (includes comments on the importance of Perkins's steam engine).A.F.Dufton, 1940–1, "Early application of engineering to warming of buildings", Transactions of the Newcomen Society 21 (includes a note on Perkins's application of a high-pressure hot-water heating system).RLH -
69 Stanley, Robert Crooks
[br]b. 1 August 1876 Little Falls, New Jersey, USAd. 12 February 1951 USA[br]American mining engineer and metallurgist, originator of Monel Metal[br]Robert, the son of Thomas and Ada (Crooks) Stanley, helped to finance his early training at the Stevens Institute of Technology, Hoboken, New Jersey, by working as a manual training instructor at Montclair High School. After graduating in mechanical engineering from Stevens in 1899, and as a mining engineer from the Columbia School of Mines in 1901, he accepted a two-year assignment from the S.S.White Dental Company to investigate platinum-bearing alluvial deposits in British Columbia. This introduced him to the International Nickel Company (Inco), which had been established on 29 March 1902 to amalgamate the major mining companies working the newly discovered cupro-nickel deposits at Sudbury, Ontario. Ambrose Monell, President of Inco, appointed Stanley as Assistant Superintendent of its American Nickel Works at Camden, near Philadelphia, in 1903. At the beginning of 1904 Stanley was General Superintendent of the Orford Refinery at Bayonne, New Jersey, where most of the output of the Sudbury mines was treated.Copper and nickel were separated there from the bessemerized matte by the celebrated "tops and bottoms" process introduced thirteen years previously by R.M.Thompson. It soon occurred to Stanley that such a separation was not invariably required and that, by reducing directly the mixed matte, he could obtain a natural cupronickel alloy which would be ductile, corrosion resistant, and no more expensive to produce than pure copper or nickel. His first experiment, on 30 December 1904, was completely successful. A railway wagon full of bessemerized matte, low in iron, was calcined to oxide, reduced to metal with carbon, and finally desulphurized with magnesium. Ingots cast from this alloy were successfully forged to bars which contained 68 per cent nickel, 23 per cent copper and about 1 per cent iron. The new alloy, originally named after Ambrose Monell, was soon renamed Monel to satisfy trademark requirements. A total of 300,000 ft2 (27,870 m2) of this white, corrosion-resistant alloy was used to roof the Pennsylvania Railway Station in New York, and it also found extensive applications in marine work and chemical plant. Stanley greatly increased the output of the Orford Refinery during the First World War, and shortly after becoming President of the company in 1922, he established a new Research and Development Division headed initially by A.J.Wadham and then by Paul D. Merica, who at the US Bureau of Standards had first elucidated the mechanism of age-hardening in alloys. In the mid- 1920s a nickel-ore body of unprecedented size was identified at levels between 2,000 and 3,000 ft (600 and 900 m) below the Frood Mine in Ontario. This property was owned partially by Inco and partially by the Mond Nickel Company. Efficient exploitation required the combined economic resources of both companies. They merged on 1 January 1929, when Mond became part of International Nickel. Stanley remained President of the new company until February 1949 and was Chairman from 1937 until his death.[br]Principal Honours and DistinctionsAmerican Society for Metals Gold Medal. Institute of Metals Platinum Medal 1948.Further ReadingF.B.Howard-White, 1963, Nickel, London: Methuen (a historical review).ASD -
70 в состоянии после ковки
Русско-английский новый политехнический словарь > в состоянии после ковки
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71 кувалда для свободной ковки
Русско-английский новый политехнический словарь > кувалда для свободной ковки
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