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further accommodation

  • 1 further accommodation

    Универсальный англо-русский словарь > further accommodation

  • 2 further accommodation

    Англо-русский дипломатический словарь > further accommodation

  • 3 to further accommodation

    способствовать / содействовать дальнейшему ослаблению напряжённости

    English-russian dctionary of diplomacy > to further accommodation

  • 4 accommodation

    n
    1) согласование; примирение; разрешение спора; компромисс
    2) ослабление напряжённости (в отношениях между странами)
    3) соглашательство; потворство (агрессору и т.п.)
    4) эк. ссуда; кредит
    •

    English-russian dctionary of diplomacy > accommodation

  • 5 accommodation

    n
    1. погодження; примирення; улагодження/ вирішення суперечки; угода; компроміс
    - policy of accommodation політика угодовства
    - to come to an accommodation with smbd. домовитися з кимсь

    English-Ukrainian diplomatic dictionary > accommodation

  • 6 move

    1. noun
    1) (change of residence) Umzug, der; (change of job) Wechsel, der
    2) (action taken) Schritt, der; (Footb. etc.) Spielzug, der
    3) (turn in game) Zug, der; (fig.) [Schach]zug, der

    it's your move — du bist am Zug

    4)

    be on the move — (moving about) [Person:] unterwegs sein

    5)

    make a move — (initiate action) etwas tun od. unternehmen; (coll.): (leave, depart) losziehen (ugs.)

    make the first move — den Anfang machen

    make no move — sich nicht rühren

    make no move to help somebody — keine Anstalten machen, jemandem zu helfen

    6)

    get a move on — (coll.) einen Zahn zulegen (ugs.)

    get a move on! — (coll.) [mach] Tempo! (ugs.)

    2. transitive verb
    1) (change position of) bewegen; wegräumen [Hindernis, Schutt]; (transport) befördern

    move the chair over here — rück den Stuhl hier herüber!

    move something to a new position — etwas an einen neuen Platz bringen

    please move your head [to one side] — bitte tun Sie Ihren Kopf zur Seite

    move it! — (coll.)

    move yourself! — (coll.) Beeilung! (ugs.)

    move somebody to another department/job — jemanden in eine andere Abteilung/Position versetzen

    move police/troops into an area — Polizeikräfte/Truppen in ein Gebiet schicken

    2) (in game) ziehen
    3) (affect) bewegen; berühren

    move somebody to laughter/anger — jemanden zum Lachen bringen/jemandes Ärger erregen

    be moved by something — über etwas (Akk.) gerührt sein

    4) (prompt)

    move somebody to do something — jemanden dazu bewegen, etwas zu tun

    5) (propose) beantragen [Beendigung, Danksagung]; stellen [Antrag]
    6) (Commerc.): (sell) absetzen
    3. intransitive verb
    1) (go from place to place) sich bewegen; (by car, bus, train) fahren; (on foot) gehen; (coll.): (start, leave) gehen; [Wolken:] ziehen ( across über + Akk.)

    move with the times — (fig.) mit der Zeit gehen

    start to move — [Fahrzeug:] sich in Bewegung setzen

    he has moved to another department — er ist jetzt in einer anderen Abteilung

    Don't move. I'll be back soon — Bleib hier od. Geh nicht weg. Ich bin gleich zurück

    2) (in games) ziehen
    3) (fig.): (initiate action) handeln; aktiv werden
    4) (in certain circles, part of society, part of town) verkehren
    5) (change residence or accommodation) umziehen (to nach); (into flat etc.) einziehen ( into in + Akk.); (out of town) wegziehen ( out of aus); (out of flat etc.) ausziehen ( out of aus)

    I want to move to London — ich will nach London ziehen

    6) (change posture or state) sich bewegen; (in order to make oneself comfortable etc.) eine andere Haltung einnehmen

    don't move or I'll shoot — keine Bewegung, oder ich schieße

    7) (make progress) vorankommen

    move towards — näherkommen (+ Dat.) [Einigung, Höhepunkt, Kompromiss]

    8) (Commerc.): (be sold) [Waren:] Absatz finden, sich absetzen lassen
    9) (coll.): (go fast)
    Phrasal Verbs:
    - academic.ru/105921/move_about">move about
    * * *
    [mu:v] 1. verb
    1) (to (cause to) change position or go from one place to another: He moved his arm; Don't move!; Please move your car.) (fort-)bewegen
    2) (to change houses: We're moving on Saturday.) umziehen
    3) (to affect the feelings or emotions of: I was deeply moved by the film.) ergreifen
    2. noun
    1) ((in board games) an act of moving a piece: You can win this game in three moves.) der Zug
    2) (an act of changing homes: How did your move go?) der Umzug
    •
    - movable
    - moveable
    - movement
    - movie
    - moving
    - movingly
    - get a move on
    - make a move
    - move along
    - move heaven and earth
    - move house
    - move in
    - move off
    - move out
    - move up
    - on the move
    * * *
    [mu:v]
    I. n
    1. no pl (movement) Bewegung f
    she made a sudden \move towards me plötzlich bewegte sie sich auf mich zu
    I hate the way my boss watches my every \move ich hasse es, wie meine Chefin jede meiner Bewegungen beobachtet
    one \move and you are dead [or and I'll shoot]! keine Bewegung oder ich schieße!
    to be on the \move unterwegs sein; ( fig) country sich im Umbruch befinden
    she's on the \move sie verändert gerade viele Dinge in ihrem Leben
    to make a \move ( fam: leave) sich akk auf den Weg machen; (act) etwas unternehmen; (start) loslegen fam
    let's make a \move, the shops are closing! ( fam) wir müssen los, die Geschäfte schließen gleich!
    to make no \move sich akk nicht rühren; ( fig)
    nobody was making a \move [to go] niemand machte Anstalten zu gehen
    2. (step) Schritt m; (measure) Maßnahme f
    a \move to democracy/peace ein Schritt m hin zur Demokratie/zum Frieden
    to make the first \move den ersten Schritt tun
    3. (in games) Zug m; CHESS [Schach]zug m
    it's your \move du bist dran
    to make a \move CHESS ziehen
    4. ( fig: strategy) [Schach]zug m
    a clever [or smart] \move ein geschickter [o kluger] Schachzug
    5. (change of residence) Umzug m; (change of job) Stellenwechsel m; (transfer) Versetzung f
    we've had four \moves in three years wir sind in drei Jahren viermal umgezogen
    I don't feel like another [job] \move yet ich möchte nicht schon wieder meine Stelle wechseln
    to be on the \move gerade am Umziehen sein
    6.
    ▶ to get a \move on ( fam) sich akk beeilen
    get a \move on! ( fam) Beeilung!
    ▶ to make a \move on sb ( fam) jdn anmachen fam
    ▶ to make one's \move on sb ( fam) sich akk an jdn heranmachen
    II. vi
    1. (change position) sich akk bewegen; (go) gehen; (drive) fahren; (walk further on) weitergehen; (run further on) weiterlaufen; (drive further on) weiterfahren; (budge up) rücken
    you couldn't \move in the bar last night man konnte sich gestern Abend in der Bar vor lauter Leuten kaum rühren
    no one \moved keiner rührte sich
    he told his children not to \move er sagte seinen Kindern, sie sollten sich nicht von der Stelle rühren
    don't \move or I'll shoot! keine Bewegung oder ich schieße!
    don't \move, I'll be back in a second rühr dich nicht von der Stelle, ich bin gleich zurück
    please \move back! bitte zurücktreten!
    keep moving! bitte gehen Sie weiter!
    to \move in a circle object sich akk kreisförmig bewegen; (walk) im Kreis gehen
    to \move [out of the way] aus dem Weg gehen, Platz machen
    to \move [aside] (go) zur Seite gehen; (budge up) rücken
    to begin to \move sich akk in Bewegung setzen
    2. ( fig: change)
    Sophie has \moved into a higher class Sophie geht nun in die nächsthöhere Klasse
    that's my final decision, and I am not going to \move [on it] das ist mein letztes Wort und dabei bleibt es
    to \move off a subject das Thema wechseln
    3. ( fig: progress) vorankommen
    things are finally moving now ( fam) jetzt tut sich endlich was fam
    to \move into new markets neue Märkte erschließen
    to \move with the times mit der Zeit gehen
    to \move forward Fortschritte machen
    4. (change address) umziehen, SCHWEIZ a. zügeln; (change job) [den Arbeitsplatz] wechseln
    he's moving from the publicity department to the sales department er wechselt von der Werbeabteilung in die Verkaufsabteilung
    to \move to Berlin/the city/the country nach Berlin/in die Stadt/auf's Land ziehen
    to \move into a flat/a house/an office in eine Wohnung/ein Haus/ein Büro einziehen
    5. (in games) ziehen
    whose turn is it to \move next? wer ist am Zug?
    6. ( fam: leave) gehen, aufbrechen fam
    to get moving sich akk auf den Weg machen
    we have to get moving wir müssen los fam
    7. ( fam: hurry) sich akk beeilen
    \move [or get moving]! ( fam) nun mach schon! fam, Beeilung! fam
    to get moving on sth sich akk [schließlich] mit etw dat beeilen
    8. ( fam: start)
    to get moving loslegen fam
    to get moving on sth sich akk an etw akk machen, mit etw dat loslegen
    9. ( fam: go fast)
    Nigel's new car can really \move Nigels neuer Wagen ist sehr schnell
    10. (sell) sich gut verkaufen lassen
    this new shampoo is moving really fast das neue Shampoo findet reißenden Absatz fam
    11. (frequent socially) verkehren geh
    she \moves in a small circle of friends sie hat einen kleinen Freundeskreis
    ▪ to \move for sth für etw akk plädieren
    13. ( fig: pass) time vergehen
    time \moves so quickly! wie die Zeit vergeht!
    14. MED
    have your bowels \moved? hatten Sie Stuhlgang?
    III. vt
    1.
    ▪ to \move sth (change position of) etw bewegen; (in a text) etw verschieben; (place somewhere else) etw woanders hinstellen; (push somewhere else) etw verrücken; (clear) etw wegräumen; (rearrange) furniture etw umstellen; (transport) etw befördern
    I asked you not to \move my shoes/books ich habe dich doch gebeten, meine Schuhe stehen/meine Bücher liegen zu lassen
    the defendant stood without moving a muscle as the judge passed sentence der Angeklagte nahm das Urteil regungslos entgegen
    don't \move a muscle! ( fam) keine Bewegung!
    please \move your legs away! bitte nehmen Sie Ihre Beine da weg!
    we finally \moved the crockery into the cupboards endlich haben wir das Geschirr in die Schränke [ein]geräumt
    don't \move anything! bitte lassen Sie alles so, wie es ist!
    could you please \move your car? könnten Sie bitte [ihren Wagen] wegfahren?
    the bus stop was \moved 100 metres down the road die Bushaltestelle wurde 100 Meter die Straße hinunter verlegt
    \move your chair closer to the table rück deinen Stuhl näher an den Tisch [heran]
    please \move your head to the left drehen Sie Ihren Kopf bitte nach links
    to \move a wall eine Wand versetzen
    to \move sth [out of the way] etw wegräumen; furniture etw wegrücken
    to \move sth [aside] etw beiseiteräumen
    ▪ to \move sth etw verlegen [o verschieben]
    can we \move our meeting to another day? können wir unseren Termin vertagen?
    3.
    ▪ to \move sb (transfer) jdn verlegen; (to another job, class) jdn versetzen
    the government \moved troops into the crisis area die Regierung schickte Truppen ins Krisengebiet
    to \move sb to another hospital/prison jdn in ein anderes Krankenhaus/Gefängnis verlegen
    to \move sb to marketing/to a higher class jdn in die Marketingabteilung/in eine höhere Klasse versetzen
    to \move house umziehen
    to \move office in ein anderes Büro ziehen
    ▪ to \move sb jdn bewegen; (stronger) jdn ergreifen
    to \move sb to laughter jdn zum Lachen bringen
    to \move sb to tears jdn zu Tränen rühren
    to \move sb deeply [or sincerely] jdn zutiefst bewegen
    to be [deeply] \moved by sth von etw dat [zutiefst] bewegt sein; (stronger) von etw dat [zutiefst] ergriffen sein
    ▪ to \move sth mechanism, wheel etw antreiben
    7. (cause change of mind)
    ▪ to \move sb jdn umstimmen
    she won't be \moved sie lässt sich nicht umstimmen
    ▪ to \move sb to do sth jdn [dazu] bringen [o geh bewegen], etw zu tun
    8. ( form: suggest)
    ▪ to \move sth etw vorschlagen
    to \move an amendment eine Ergänzung einbringen
    ▪ to \move that... vorschlagen, dass...
    I should like to \move that the proposal [should] be accepted ich plädiere dafür, den Vorschlag anzunehmen
    9. MED
    to \move one's bowels Stuhlgang haben
    to \move a knight/rook einen Läufer/Turm ziehen
    11. COMM
    ▪ to \move sth etw absetzen
    12.
    ▶ \move it! (fam!) leg mal 'nen Zahn zu! fam, nun mach schon! fam, Beeilung!
    * * *
    move [muːv]
    A v/t
    1. a) (von der Stelle) bewegen, rücken
    b) einen Körperteil bewegen, rühren
    c) transportieren
    d) COMPUT eine Textstelle etc verschieben:
    move up MIL Truppen heranbringen oder vorziehen; SCHULE Br einen Schüler versetzen;
    move down SCHULE Br einen Schüler zurückstufen; → heaven 1
    2. a) entfernen, fortbringen, -schaffen:
    move one’s car seinen Wagen wegfahren; → goal post
    b) seinen Wohnsitz, eine Militäreinheit etc verlegen (to nach):
    move house Br umziehen;
    move sb umg jemandes Umzug durchführen
    c) einen Angestellten etc versetzen (to nach)
    3. bewegen, in Bewegung oder in Gang setzen oder halten, (an)treiben:
    a) vorwärtstreiben,
    b) jemanden auffordern, weiterzugehen
    4. fig bewegen, rühren, ergreifen:
    be moved to tears zu Tränen gerührt sein
    5. jemanden veranlassen, bewegen ( beide:
    to zu;
    to do zu tun):
    move sb from an opinion jemanden von einer Ansicht abbringen;
    move sb to anger jemanden erzürnen;
    feel moved to say sth sich veranlasst fühlen, etwas zu sagen
    6. Schach etc: ziehen oder einen Zug machen mit
    7. den Appetit, ein Organ etc anregen: → bowel A 1 b
    8. jemanden erregen, aufregen
    9. etwas beantragen, (einen) Antrag stellen auf (akk):
    move that … beantragen, dass …;
    he moved that the meeting (should) be adjourned er beantragte, die Sitzung zu vertagen;
    move an amendment PARL einen Abänderungsantrag stellen
    10. einen Antrag stellen, einbringen
    11. WIRTSCH absetzen, verkaufen
    B v/i
    1. a) sich bewegen, sich rühren, sich regen:
    don’t move! keine Bewegung!
    b) fig sich ändern (Ansichten etc)
    2. sich fortbewegen, gehen, fahren:
    begin ( oder start) to move, move off sich in Bewegung setzen (Zug etc);
    move on weitergehen;
    move along, please bitte weitergehen!;
    move away sich entfernen ( from von);
    a) anrücken (Polizei etc),
    b) vorgehen (on gegen Demonstranten etc),
    c) fig ins Haus stehen (Veränderungen etc) (on dat);
    move (up) into 3rd place SPORT etc auf den 3. Platz klettern oder (vor)rücken;
    move forward fig Fortschritte machen, vorankommen;
    move up SPORT aufsteigen;
    move with the times mit der Zeit gehen;
    move to the top of the table SPORT sich an die Tabellenspitze setzen;
    be really moving umg einen ganz schönen Zahn draufhaben
    3. umziehen (to nach):
    move (away) aus-, fort-, wegziehen;
    move to ziehen nach;
    move in einziehen;
    move into einziehen in (akk), beziehen;
    move out ausziehen (of aus);
    if moved falls verzogen
    4. fig voran-, fortschreiten:
    things began to move die Sache kam in Gang, es tat sich etwas
    5. laufen, in Gang sein (Maschine etc)
    6. verkehren ( with mit), sich bewegen:
    move in rarefied circles sich in exklusiven Kreisen bewegen
    7. vorgehen, Schritte oder etwas unternehmen, handeln ( alle:
    in sth in einer Sache;
    against gegen):
    he moved quickly er handelte rasch
    8. move for beantragen, (einen) Antrag stellen auf (akk):
    9. Schach etc: einen Zug machen, ziehen
    10. MED sich entleeren (Darm):
    his bowels have moved er hat Stuhlgang gehabt
    11. WIRTSCH
    a) gehen umg, Absatz finden (Ware)
    b) move up anziehen, steigen (Preise)
    12. BIBEL leben:
    C s
    1. (Fort)Bewegung f, Aufbruch m:
    a) in Bewegung,
    b) auf den Beinen,
    c) auf Achse;
    get a move on umg sich beeilen;
    get a move on umg Tempo!, mach(t) schon!, los!;
    a) aufbrechen,
    b) sich (von der Stelle) rühren,
    c) fig handeln;
    make no move keine Anstalten machen ( to do zu tun)
    2. Auszug m ( from aus), Umzug m
    3. a) Schach etc: Zug m:
    it’s your move Sie sind am Zug
    b) fig Schritt m, Maßnahme f:
    a clever move ein kluger Schachzug oder Schritt;
    make the first move den ersten Schritt tun;
    make one’s move handeln
    4. SPORT
    a) Kombination f
    b) Spielzug m
    * * *
    1. noun
    1) (change of residence) Umzug, der; (change of job) Wechsel, der
    2) (action taken) Schritt, der; (Footb. etc.) Spielzug, der
    3) (turn in game) Zug, der; (fig.) [Schach]zug, der
    4)

    be on the move — (moving about) [Person:] unterwegs sein

    5)

    make a move — (initiate action) etwas tun od. unternehmen; (coll.): (leave, depart) losziehen (ugs.)

    make no move to help somebody — keine Anstalten machen, jemandem zu helfen

    6)

    get a move on — (coll.) einen Zahn zulegen (ugs.)

    get a move on! — (coll.) [mach] Tempo! (ugs.)

    2. transitive verb
    1) (change position of) bewegen; wegräumen [Hindernis, Schutt]; (transport) befördern

    please move your head [to one side] — bitte tun Sie Ihren Kopf zur Seite

    move it! — (coll.)

    move yourself! — (coll.) Beeilung! (ugs.)

    move somebody to another department/job — jemanden in eine andere Abteilung/Position versetzen

    move police/troops into an area — Polizeikräfte/Truppen in ein Gebiet schicken

    2) (in game) ziehen
    3) (affect) bewegen; berühren

    move somebody to laughter/anger — jemanden zum Lachen bringen/jemandes Ärger erregen

    be moved by something — über etwas (Akk.) gerührt sein

    move somebody to do something — jemanden dazu bewegen, etwas zu tun

    5) (propose) beantragen [Beendigung, Danksagung]; stellen [Antrag]
    6) (Commerc.): (sell) absetzen
    3. intransitive verb
    1) (go from place to place) sich bewegen; (by car, bus, train) fahren; (on foot) gehen; (coll.): (start, leave) gehen; [Wolken:] ziehen ( across über + Akk.)

    move with the times — (fig.) mit der Zeit gehen

    start to move — [Fahrzeug:] sich in Bewegung setzen

    Don't move. I'll be back soon — Bleib hier od. Geh nicht weg. Ich bin gleich zurück

    2) (in games) ziehen
    3) (fig.): (initiate action) handeln; aktiv werden
    4) (in certain circles, part of society, part of town) verkehren
    5) (change residence or accommodation) umziehen (to nach); (into flat etc.) einziehen ( into in + Akk.); (out of town) wegziehen ( out of aus); (out of flat etc.) ausziehen ( out of aus)
    6) (change posture or state) sich bewegen; (in order to make oneself comfortable etc.) eine andere Haltung einnehmen

    don't move or I'll shoot — keine Bewegung, oder ich schieße

    7) (make progress) vorankommen

    move towards — näherkommen (+ Dat.) [Einigung, Höhepunkt, Kompromiss]

    8) (Commerc.): (be sold) [Waren:] Absatz finden, sich absetzen lassen
    9) (coll.): (go fast)
    Phrasal Verbs:
    * * *
    n.
    Bewegung -en f. (change lodgings) expr.
    Wohnung wechseln ausdr. v.
    antreiben v.
    bewegen v.
    (§ p.,pp.: bewog, bewogen)
    erregen v.
    umziehen v.
    übersiedeln v.

    English-german dictionary > move

  • 7 Gresley, Sir Herbert Nigel

    [br]
    b. 19 June 1876 Edinburgh, Scotland
    d. 5 April 1941 Hertford, England
    [br]
    English mechanical engineer, designer of the A4-class 4–6–2 locomotive holding the world speed record for steam traction.
    [br]
    Gresley was the son of the Rector of Netherseale, Derbyshire; he was educated at Marlborough and by the age of 13 was skilled at making sketches of locomotives. In 1893 he became a pupil of F.W. Webb at Crewe works, London \& North Western Railway, and in 1898 he moved to Horwich works, Lancashire \& Yorkshire Railway, to gain drawing-office experience under J.A.F.Aspinall, subsequently becoming Foreman of the locomotive running sheds at Blackpool. In 1900 he transferred to the carriage and wagon department, and in 1904 he had risen to become its Assistant Superintendent. In 1905 he moved to the Great Northern Railway, becoming Superintendent of its carriage and wagon department at Doncaster under H.A. Ivatt. In 1906 he designed and produced a bogie luggage van with steel underframe, teak body, elliptical roof, bowed ends and buckeye couplings: this became the prototype for East Coast main-line coaches built over the next thirty-five years. In 1911 Gresley succeeded Ivatt as Locomotive, Carriage \& Wagon Superintendent. His first locomotive was a mixed-traffic 2–6–0, his next a 2–8–0 for freight. From 1915 he worked on the design of a 4–6–2 locomotive for express passenger traffic: as with Ivatt's 4 4 2s, the trailing axle would allow the wide firebox needed for Yorkshire coal. He also devised a means by which two sets of valve gear could operate the valves on a three-cylinder locomotive and applied it for the first time on a 2–8–0 built in 1918. The system was complex, but a later simplified form was used on all subsequent Gresley three-cylinder locomotives, including his first 4–6–2 which appeared in 1922. In 1921, Gresley introduced the first British restaurant car with electric cooking facilities.
    With the grouping of 1923, the Great Northern Railway was absorbed into the London \& North Eastern Railway and Gresley was appointed Chief Mechanical Engineer. More 4–6– 2s were built, the first British class of such wheel arrangement. Modifications to their valve gear, along lines developed by G.J. Churchward, reduced their coal consumption sufficiently to enable them to run non-stop between London and Edinburgh. So that enginemen might change over en route, some of the locomotives were equipped with corridor tenders from 1928. The design was steadily improved in detail, and by comparison an experimental 4–6–4 with a watertube boiler that Gresley produced in 1929 showed no overall benefit. A successful high-powered 2–8–2 was built in 1934, following the introduction of third-class sleeping cars, to haul 500-ton passenger trains between Edinburgh and Aberdeen.
    In 1932 the need to meet increasing road competition had resulted in the end of a long-standing agreement between East Coast and West Coast railways, that train journeys between London and Edinburgh by either route should be scheduled to take 8 1/4 hours. Seeking to accelerate train services, Gresley studied high-speed, diesel-electric railcars in Germany and petrol-electric railcars in France. He considered them for the London \& North Eastern Railway, but a test run by a train hauled by one of his 4–6–2s in 1934, which reached 108 mph (174 km/h), suggested that a steam train could better the railcar proposals while its accommodation would be more comfortable. To celebrate the Silver Jubilee of King George V, a high-speed, streamlined train between London and Newcastle upon Tyne was proposed, the first such train in Britain. An improved 4–6–2, the A4 class, was designed with modifications to ensure free running and an ample reserve of power up hill. Its streamlined outline included a wedge-shaped front which reduced wind resistance and helped to lift the exhaust dear of the cab windows at speed. The first locomotive of the class, named Silver Link, ran at an average speed of 100 mph (161 km/h) for 43 miles (69 km), with a maximum speed of 112 1/2 mph (181 km/h), on a seven-coach test train on 27 September 1935: the locomotive went into service hauling the Silver Jubilee express single-handed (since others of the class had still to be completed) for the first three weeks, a round trip of 536 miles (863 km) daily, much of it at 90 mph (145 km/h), without any mechanical troubles at all. Coaches for the Silver Jubilee had teak-framed, steel-panelled bodies on all-steel, welded underframes; windows were double glazed; and there was a pressure ventilation/heating system. Comparable trains were introduced between London Kings Cross and Edinburgh in 1937 and to Leeds in 1938.
    Gresley did not hesitate to incorporate outstanding features from elsewhere into his locomotive designs and was well aware of the work of André Chapelon in France. Four A4s built in 1938 were equipped with Kylchap twin blast-pipes and double chimneys to improve performance still further. The first of these to be completed, no. 4468, Mallard, on 3 July 1938 ran a test train at over 120 mph (193 km/h) for 2 miles (3.2 km) and momentarily achieved 126 mph (203 km/h), the world speed record for steam traction. J.Duddington was the driver and T.Bray the fireman. The use of high-speed trains came to an end with the Second World War. The A4s were then demonstrated to be powerful as well as fast: one was noted hauling a 730-ton, 22-coach train at an average speed exceeding 75 mph (120 km/h) over 30 miles (48 km). The war also halted electrification of the Manchester-Sheffield line, on the 1,500 volt DC overhead system; however, anticipating eventual resumption, Gresley had a prototype main-line Bo-Bo electric locomotive built in 1941. Sadly, Gresley died from a heart attack while still in office.
    [br]
    Principal Honours and Distinctions
    Knighted 1936. President, Institution of Locomotive Engineers 1927 and 1934. President, Institution of Mechanical Engineers 1936.
    Further Reading
    F.A.S.Brown, 1961, Nigel Gresley, Locomotive Engineer, Ian Allan (full-length biography).
    John Bellwood and David Jenkinson, Gresley and Stanier. A Centenary Tribute (a good comparative account).
    PJGR

    Biographical history of technology > Gresley, Sir Herbert Nigel

  • 8 Jeanneret, Charles-Edouard (Le Corbusier)

    [br]
    b. 6 October 1887 La Chaux-de-Fonds, Switzerland
    d. 27 August 1965 Cap Martin, France
    [br]
    Swiss/French architect.
    [br]
    The name of Le Corbusier is synonymous with the International style of modern architecture and city planning, one utilizing functionalist designs carried out in twentieth-century materials with modern methods of construction. Charles-Edouard Jeanneret, born in the watch-making town of La Chaux-de-Fonds in the Jura mountain region, was the son of a watch engraver and dial painter. In the years before 1918 he travelled widely, studying building in many countries. He learned about the use of reinforced concrete in the studio of Auguste Perret and about industrial construction under Peter Behrens. In 1917 he went to live in Paris and spent the rest of his life in France; in 1920 he adopted the name of Le Corbusier, one derived from that of his ancestors (Le Corbesier), and ten years later became a French citizen.
    Le Corbusier's long working life spanned a career divided into three distinct parts. Between 1905 and 1916 he designed a number of simple and increasingly modern houses; the years 1921 to 1940 were ones of research and debate; and the twenty years from 1945 saw the blossoming of his genius. After 1917 Le Corbusier gained a reputation in Paris as an architect of advanced originality. He was particularly interested in low-cost housing and in improving accommodation for the poor. In 1923 he published Vers une architecture, in which he planned estates of mass-produced houses where all extraneous and unnecessary features were stripped away and the houses had flat roofs and plain walls: his concept of "a machine for living in". These white boxes were lifted up on stilts, his pilotis, and double-height living space was provided internally, enclosed by large areas of factory glazing. In 1922 Le Corbusier exhibited a city plan, La Ville contemporaine, in which tall blocks made from steel and concrete were set amongst large areas of parkland, replacing the older concept of city slums with the light and air of modern living. In 1925 he published Urbanisme, further developing his socialist ideals. These constituted a major reform of the industrial-city pattern, but the ideas were not taken up at that time. The Depression years of the 1930s severely curtailed architectural activity in France. Le Corbusier designed houses for the wealthy there, but most of his work prior to 1945 was overseas: his Centrosoyus Administration Building in Moscow (1929–36) and the Ministry of Education Building in Rio de Janeiro (1943) are examples. Immediately after the end of the Second World War Le Corbusier won international fame for his Unité d'habitation theme, the first example of which was built in the boulevard Michelet in Marseille in 1947–52. His answer to the problem of accommodating large numbers of people in a small space at low cost was to construct an immense all-purpose block of pre-cast concrete slabs carried on a row of massive central supports. The Marseille Unité contains 350 apartments in eight double storeys, with a storey for shops half-way up and communal facilities on the roof. In 1950 he published Le Modular, which described a system of measurement based upon the human male figure. From this was derived a relationship of human and mathematical proportions; this concept, together with the extensive use of various forms of concrete, was fundamental to Le Corbusier's later work. In the world-famous and highly personal Pilgrimage Church of Notre Dame du Haut at Ronchamp (1950–5), Le Corbusier's work was in Expressionist form, a plastic design in massive rough-cast concrete, its interior brilliantly designed and lit. His other equally famous, though less popular, ecclesiastical commission showed a contrasting theme, of "brutalist" concrete construction with uncompromisingly stark, rectangular forms. This is the Dominican Convent of Sainte Marie de la Tourette at Eveux-sur-l'Arbresle near Lyon, begun in 1956. The interior, in particular, is carefully worked out, and the lighting, from both natural and artificial sources, is indirect, angled in many directions to illuminate vistas and planes. All surfaces are carefully sloped, the angles meticulously calculated to give optimum visual effect. The crypt, below the raised choir, is painted in bright colours and lit from ceiling oculi.
    One of Le Corbusier's late works, the Convent is a tour de force.
    [br]
    Principal Honours and Distinctions
    Honorary Doctorate Zurich University 1933. Honorary Member RIBA 1937. Chevalier de la Légion d'honneur 1937. American Institute of Architects Gold Medal 1961. Honorary Degree University of Geneva 1964.
    Bibliography
    His chief publications, all of which have been numerously reprinted and translated, are: 1923, Vers une architecture.
    1935, La Ville radieuse.
    1946, Propos d'urbanisme.
    1950, Le Modular.
    Further Reading
    P.Blake, 1963, Le Corbusier: Architecture and Form, Penguin. R.Furneaux-Jordan, 1972, Le Corbusier, Dent.
    W.Boesiger, 1970, Le Corbusier, 8 vols, Thames and Hudson.
    ——1987, Le Corbusier: Architect of the Century, Arts Council of Great Britain.
    DY

    Biographical history of technology > Jeanneret, Charles-Edouard (Le Corbusier)

  • 9 Renold, Hans

    [br]
    b. 31 July 1852 Aarau, Switzerland
    d. 2 May 1943 Grange-over-Sands, Lancashire, England
    [br]
    Swiss (naturalized British 1881) mechanical engineer, inventor and pioneer of the precision chain industry.
    [br]
    Hans Renold was educated at the cantonal school of his native town and at the Polytechnic in Zurich. He worked in two or three small workshops during the polytechnic vacations and served an apprenticeship of eighteen months in an engineering works at Neuchâtel, Switzerland. After a short period of military service he found employment as a draughtsman in an engineering firm at Saint-Denis, near Paris, from 1871 to 1873. In 1873 Renold moved first to London and then to Manchester as a draughtsman and inspector with a firm of machinery exporters. From 1877 to 1879 he was a partner in his own firm of machine exporters. In 1879 he purchased a small firm in Salford making chain for the textile industry. At about this time J.K.Starley introduced the "safety" bicycle, which, however, lacked a satisfactory drive chain. Renold met this need with the invention of the bush roller chain, which he patented in 1880. The new chain formed the basis of the precision chain industry: the business expanded and new premises were acquired in Brook Street, Manchester, in 1881. In the same year Renold became a naturalized British subject.
    Continued expansion of the business necessitated the opening of a new factory in Brook Street in 1889. The factory was extended in 1895, but by 1906 more accommodation was needed and a site of 11 ½ acres was acquired in the Manchester suburb of Burnage: the move to the new building was finally completed in 1914. Over the years, further developments in the techniques of chain manufacture were made, including the invention in 1895 of the inverted tooth or silent chain. Renold made his first visit to America in 1891 to study machine-tool developments and designed for his own works special machine tools, including centreless grinding machines for dealing with wire rods up to 10 ft (3 m) in length.
    The business was established as a private limited company in 1903 and merged with the Coventry Chain Company Ltd in 1930. Good industrial relations were always of concern to Renold and he established a 48-hour week as early as 1896, in which year a works canteen was opened. Joint consultation with shop stewards date2 from 1917. Renold was elected a Member of the Institution of Mechanical Engineers in 1902 and in 1917 he was made a magistrate of the City of Manchester.
    [br]
    Principal Honours and Distinctions
    Honorary DSc University of Manchester 1940.
    Further Reading
    Basil H.Tripp, 1956, Renold Chains: A History of the Company and the Rise of the Precision Chain Industry 1879–1955, London.
    J.J.Guest, 1915, Grinding Machinery, London, pp. 289, 380 (describes grinding machines developed by Renold).
    RTS

    Biographical history of technology > Renold, Hans

  • 10 DE

    Del verbo dar: ( conjugate dar) \ \
    dé es: \ \
    1ª persona singular (yo) presente subjuntivo
    3ª persona singular (él/ella/usted) presente subjuntivo
    3ª persona singular (él/ella/usted) imperativo
    Multiple Entries: dar     de     dé
    dar ( conjugate dar) verbo transitivo 1 déme un kilo de peras can I have a kilo of pears?; See Also→ conocer verbo transitivo 3 b, entender verbo transitivo
    b) ‹cartas/mano› to give
    2
    a) (donar, regalar) ‹sangre/limosna› to give;
    b) ( proporcionar) ‹fuerzas/valor/esperanza› to give;
    ‹información/idea› to give 3
    a) (conferir, aportar) ‹sabor/color/forma› to give
    b) ( aplicar) ‹mano de pintura/barniz› to give
    c) ‹sedante/masaje› to give
    4 ( conceder) ‹prórroga/permiso› to give; nos dieron un premio we won o got a prize 5
    a) (expresar, decir) ‹parecer/opinón› to give;
    ◊ ¿le diste las gracias? did you thank him?, did you say thank you?;
    dales saludos give/send them my regards; tuve que déle la noticia I was the one who had to break the news to him
    b) (señalar, indicar): me da ocupado or (Esp) comunicando the line's busy o (BrE) engaged;
    1
    a) ( producir) ‹fruto/flor› to bear;
    ‹ dividendos› to pay;
    b) (AmL) ( alcanzar hasta):
    ◊ da 150 kilómetros por hora it can do o go 150 kilometres an hour;
    venía a todo lo que daba it was travelling at full speed; ponen la radio a todo lo que da they turn the radio on full blast 2 (causar, provocar) ‹placer/susto› to give; ‹ problemas› to cause; el calor le dio sueño/sed the heat made him sleepy/thirsty 1 ( presentar) ‹ concierto› to give;
    ◊ ¿qué dan esta noche en la tele? what's on TV tonight? (colloq);
    ¿dónde están dando esa película? where's that film showing? 2
    a) ‹fiesta/conferencia› to give;
    ‹baile/banquete› to hold; ‹ discurso› (AmL) to make
    b) (CS) ‹ examen› to take o (BrE) sit;
    ver tb clase 4 ( realizar la accion que se indica) ‹ grito› to give; dame un beso give me a kiss; ver tb golpe, paseo, vuelta, etc ( considerar) dé algo/a algn por algo: ese tema lo doy por sabido I'm assuming you've already covered that topic; ¡dalo por hecho! consider it done! verbo intransitivo 1 [ventana/balcón] to look onto, give onto; [fachada/frente] to face 2 (ser suficiente, alcanzar) dé para algo/algn to be enough for sth/sb; dé de sí ‹zapatos/jersey› to stretch 3 ( arrojar un resultado): ¿cuánto da la cuenta? what does it come to?; a mí me dio 247 I made it (to be) 247 4 ( importar): ¡qué más da! what does it matter!; ¿qué más da? what difference does it make?; me da igual I don't mind 5 ( en naipes) to deal 1
    a) (pegar, golpear): déle a algn to hit sb;
    ( como castigo) to smack sb; el balón dio en el poste the ball hit the post 2 (accionar, mover) déle a algo ‹a botón/tecla› to press sth; ‹ a interruptor› to flick sth; ‹a manivela/volante› to turn sth 3 ‹ solución› to hit upon, find; ‹ palabra› to come up with 4 (hablando de manías, ocurrencias) déle a algn por hacer algo ‹por pintar/cocinar› to take to doing sth;
    ◊ le ha dado por decir que … he's started saying that …
    5 [sol/luz]: la luz le daba de lleno en los ojos the light was shining right in his eyes darse verbo pronominal 1 ( producirse) [ frutaigo] to grow 2 ( presentarse) [oportunidad/ocasión] to arise 3 ( resultar) (+ me/te/le etc):
    a) ( refl) ( realizar lo que se indica) ‹ducha/banquete› to have;
    ◊ dárselas de algo: se las da de valiente/de que sabe mucho he likes to make out he's brave/he knows a lot;
    dárselas de listo to act smart
    b) (golpearse, pegarse):
    se dieron contra un árbol they crashed into a tree; se dio dé un golpe en la rodilla he hit his knee ( considerarse) dése por algo: ver tb aludir a, enterado 1
    de 1 preposición 1
    a) (pertenencia, posesión):
    el rey dé Francia the king of France; no es dé él it isn't his; es un amigo dé mi hijo he's a friend of my son's; un estudiante dé quinto año a fifth-year student; la tapa dé la cacerola the saucepan lid; un avión dé Mexair a Mexair plane el aeropuerto dé Barajas Barajas airport; el mes dé enero the month of January 2
    a) (procedencia, origen, tiempo) from;
    ◊ es dé Bogotá she's/she comes from Bogotá;
    una carta dé Julia a letter from Julia; un amigo dé la infancia a childhood friend; la literatura dé ese período the literature of o from that period; dé aquí a tu casa from here to your house
    b) (material, contenido, composición):
    una mesa dé caoba a mahogany table; un vaso dé agua a glass of water; un millón dé dólares a million dollars
    c) (causa, modo):
    dé tanto gritar from shouting so much; verde dé envidia green with envy; temblando dé miedo trembling with fear; dé memoria by heart; lo tumbó dé un golpe he knocked him down with one blow rodeada dé árboles surrounded by trees 3
    a) (cualidades, características):
    objetos dé mucho valor objects of great value; ¿dé qué color lo quiere? what color do you want it?; tiene cara dé aburrido he looks bored; una botella dé un litro a liter bottle; la chica dé azul the girl in blue
    b) (al definir, especificar):
    tiene dos metros dé ancho it's two meters wide; es fácil de pronunciar it's easy to pronounce; uno dé los míos one of mine; el mayor dé los Soto the eldest of the Soto children 4
    a) ( con cifras):
    ◊ pagan un interés dél 15% they pay 15% interest o interest at 15%
    ◊ más dé £100 more than o over £100;
    pesa menos dé un kilo it weighs less than o under a kilo; un número mayor/menor dé 29 a number over/under 29 la ciudad más grande dél mundo the biggest city in the world
    ◊ dé día/noche during the day/at night;
    dé madrugada early in the morning 5
    a) ( en calidad de) as;
    hace dé rey en la obra he plays (the part of) a king in the play
    b) (en expresiones de estado, actividad):
    estamos dé fiesta we're having a party
    c) (indicando uso, destino, finalidad):
    copas dé vino wine glasses; ropa dé cama bed clothes; dales algo dé comer give them something to eat; ¿qué hay dé postre? what's for dessert? 6 ( con sentido condicional): dé no ser así otherwise
    de 2 sustantivo femenino: name of the letter d
    dé see
    ◊ dar

    dar
    I verbo transitivo
    1 to give: dame la mano, hold my hand
    2 (conceder) to give: mi padre me dio permiso, my father gave me permission
    le doy toda la razón, I think he is quite right
    3 (transmitir una noticia) to tell (un recado, recuerdos) to pass on, give
    dar las gracias, to thank
    4 (retransmitir u ofrecer un espectáculo) to show, put on
    5 (organizar una fiesta) to throw, give
    6 (producir lana, miel, etc) to produce, yield (fruto, flores) to bear (beneficio, interés) to give, yield
    7 (causar un dolor, malestar) dar dolor de cabeza, to give a headache (un sentimiento) dar pena, to make sad
    le da mucha vergüenza, he's very embarrassed
    8 (proporcionar) to provide: su empresa da trabajo a cincuenta personas, his factory gives work to fifty people
    9 (una conferencia, charla) to give (impartir clases) to teach (recibir una clase) to have US to take
    10 (presentir) me da (en la nariz/en el corazón) que eso va a salir bien, I have a feeling that everything is going to turn out well
    11 (estropear) to ruin: me dio la noche con sus ronquidos, he spoilt my sleep with his snoring
    12 (abrir el paso de la luz) to switch on (del gas, agua) to turn on
    13 (propinar una bofetada, un puntapié, etc) to hit, give
    14 (aplicar una mano de pintura, cera) to apply, put on (un masaje, medicamento) to give
    15 (considerar) dar por, to assume, consider: lo dieron por muerto, he was given up for dead
    ese dinero lo puedes dar por perdido, you can consider that money lost
    dar por supuesto/sabido, to take for granted, to assume
    16 (la hora, un reloj) to strike: aún no habían dado las ocho, it was not yet past eight o'clock
    17 (realizar la acción que implica el objeto) dar un abrazo/susto, to give a hug/fright
    dar un paseo, to go for a walk
    dar una voz, to give a shout
    II verbo intransitivo
    1 (sobrevenir) le dio un ataque de nervios, she had an attack of hysterics
    2 dar de comer/cenar, to provide with lunch/dinner 3 dar a, (mirar, estar orientado a) to look out onto, to overlook (una puerta) to open onto, lead to: esa puerta da al jardín, this door leads out onto the garden 4 dar con, (una persona, objeto) to come across: no fuimos capaces de dar con la contraseña, we couldn't come up with the password
    dimos con él, we found him 5 dar de sí, (una camiseta, bañador) to stretch, give 6 dar en, to hit: el sol me daba en los ojos, the sun was (shining) in my eyes 7 dar para, to be enough o sufficient for: ese dinero no me da para nada, this money isn't enough for me Locuciones: dar a alguien por: le dio por ponerse a cantar, she decided to start singing
    le dio por nadar, he got it into his head to go swimming
    dar a entender a alguien que..., to make sb understand that...
    dar la mano a alguien, to shake hands with sb
    dar para: el presupuesto no da para más, the budget will not stretch any further
    dar que hablar, to set people talking
    dar que pensar: el suceso dio que pensar, the incident gave people food for thought
    dar a conocer, (noticia) to release
    de preposición
    1 (pertenencia, posesión) of
    la dirección de mis padres, my parents' address
    el teclado de este ordenador, this computer's keyboard
    la primera página del libro, the first page of the book
    2 (material) of: está hecho de madera, it's made of wood
    una pajarita de papel, a paper bird (contenido) un vaso de vino, a glass of wine
    3 (asunto) about, on: sabe mucho de economía, she knows a lot about economics
    un curso de inglés, an English course
    un libro de arte, a book on art
    4 (oficio) as: estáabaja de enfermera, she is working as a nurse
    5 (cualidad) una persona de carácter, a person with character
    una rubia de pelo largo, a blonde with long hair
    6 (procedencia) from: es de Bilbao, he is o comes from Bilbao
    de Madrid a Cáceres, from Madrid to Cáceres
    7 (parte) un poco de leche, a little milk
    un trozo de carne, a piece of meat
    8 (causa) with, because of
    llorar de alegría, to cry with joy
    morir de hambre, to die of hunger
    9 (modo) lo bebió de un trago, she downed it in one
    un gesto de satisfacción, an expression of satisfaction
    10 (localización) el señor de la camisa azul, the man in the blue shirt
    la casa de la esquina, the house on the corner
    11 (tiempo) a las cinco de la mañana, at five in the morning
    de año en año, year in year out
    de día, by day
    de noche, at night
    de miércoles a viernes, from Wednesday to Friday
    de pequeño, as a child
    12 (finalidad) jornada de reflexión, eve of polling day
    libro de consulta, reference book
    máquina de escribir, typewriter
    13 (instrumento) derribó la puerta de una patada, he kicked the door down
    lo mataron de una puñalada, he was stabbed to death
    14 (comparación) el discurso fue más largo de lo esperado, the speech was longer than expected (con superlativo) in
    el coche más caro del mundo, the most expensive car in the world
    15 (precio) for
    un pantalón de dos mil pesetas, a pair of trousers costing two thousand pesetas 16 una avenida de quince kilómetros, an avenue fifteen kilometres long
    una botella de litro, a litre bottle
    17 (condicional) de haberlo sabido no le hubiera invitado, if I had known I wouldn't have invited him
    de no ser así, if that wasn't o weren't the case
    de ser cierto, if it was o were true
    18 (reiteración) de puerta en puerta, from door to door
    de tres en tres, in threes o three at a time 'dé' also found in these entries: Spanish: A - a. C. - a.m. - abajo - abanderada - abanderado - abandonar - abandonarse - abandono - abanico - abarrotar - abarrotada - abarrotado - abarrotería - abastecer - abastecerse - abastecimiento - abasto - abatir - abatimiento - abatirse - abdicar - abertura - abierta - abierto - abismo - ablandar - abogar - abogacía - abogada - abogado - abominar - abominable - abono - abortar - abrir - abridor - abrigo - abrupta - abrupto - absoluta - absolutamente - absoluto - abstenerse - abstención - abstinencia - abstraerse - abuelo - abuhardillada - abuhardillado English: A - A-level - a.m. - AA - abandon - ABC - ability - ablaze - aboard - about - about-face - about-turn - above - abreast - abroad - abrupt - absence - absent - absolve - absorb - abstain - abstract - abundance - abuse - AC - accepted - access road - accident - accidental - acclaim - accommodate - accommodation - accomplished - accomplishment - accordance - account - account for - accountable - accumulation - accuracy - accurate - accurately - accuse - accused - accusingly - accustom - ache - Achilles heel - aching - acid test
    = Delaware
    1.
    ABBR
    (US) = Delaware
    2.
    N ABBR
    (Brit) = Department of Employment
    * * *
    = Delaware

    English-spanish dictionary > DE

  • 11 accessory

    аксессуар имя существительное: имя прилагательное:
    соучаствующий (accessory, accessary)

    Англо-русский синонимический словарь > accessory

  • 12 advance

    продвигать имя прилагательное: имя существительное:
    прогресс (progress, progression, advancement, advance, headway, go-ahead)
    глагол:
    продвигаться (advance, push, carry forward, get ahead, rise, get along)

    Англо-русский синонимический словарь > advance

  • 13 order

    I ['ɔːdə] n
    1) порядок, исправность

    My liver is out of order. — У меня не в порядке печень.

    My stomach is out of order. — У меня расстроился желудок.

    My affairs are in good order. — Все мои дела в порядке.

    The goods arrived in good order. — Весь товар прибыл в хорошем состоянии.

    - good order
    - order of words in a sentence
    - natural order of things
    - in the right order
    - in good order
    - in the alphabetical order
    - keep order
    - call smb to order
    - put the room in order
    - keep the room in order
    - be in good working order
    - arrange books in order according to subject
    - copy the words in order
    - place the books in order of size
    - room is in order
    - machine is in order
    2) порядок, справедливость
    - stable world order
    - constitutional order
    - order of measures to be taken
    - order of business at the next meeting
    - order of the day
    - order of battle
    3) in order to do smth чтобы сделать что-либо/для того, чтобы сделать что-либо

    We took a taxi in order not to be late. — Мы взяли такси, чтобы не опоздать.

    •
    USAGE:
    Русскому быть/находиться в беспорядке соответствует в английском языке to be in disorder: the room is in disorder в комнате беспорядок/комната в беспорядке. Оборот to be out of order соответствует русскому быть не в порядке, быть неисправным, не работать: the bell is out of order звонок не работает/звонок не исправен/звонок испортился
    II ['ɔːdə] n
    1) приказание, приказ, предписание, распоряжение

    I won't take orders from any one. — Я не позволю никому собой командовать.

    I'm under orders to search (arrest) you. — У меня приказ обыскать (арестовать) вас.

    - banker's standing order
    - in spite of smb's order
    - obey smb's orders
    - disobey smb's orders
    - do smth on smb's order
    - give orders
    - receive an order to do smth
    - give an order that smth should be done
    - take orders
    - follow orders
    - receive orders to start at once
    2) заказ, ордер

    The waiter has come to take our order. — Официант подошел, чтобы взять наш заказ.

    Your order has arrived. — Ваш заказ готов.

    You'd better not accept further orders for delivery. — Вам лучше не принимать новых заказов на доставку.

    We cannot take the order on the terms quoted. — Мы не можем принять ваш заказ на указанных условиях.

    - big order
    - single order
    - back order
    - considerable order
    - postal money order
    - delivery order department
    - made-to-order suit
    - order for smth
    - order for food products
    - order to view     - have smth on order
    - make an order for smth
    - cancel the order
    - give an order for smth
    - be heavy with order
    - dispatch smth's order
    - place orders with smb
    - distribute orders
    - enter smb's order
    - get orders
    - make an order by mail
    - repeat the previous order
    - take smb's order for smth
    - orders are fallery are falling off
    3) распоряжение, поручение
    - payment orders
    - strict orders

    He was awarded several orders. — Он был награжден несколькими орденами. /Он получил несколько орденов

    III ['ɔːdə]
    1) приказывать, распоряжаться

    He likes to order everybody around. — Он любит всеми командовать.

    - order smb to do smth
    - order smth to be done
    - order the gates to be locked
    2) заказывать, делать заказ

    I haven't ordered yet. — Я еще не заказал.

    Don't forget to order more pencils. — Не забудьте заказать еще карандашей.

    I've ordered you a beer. — Я заказал вам пиво.

    - order a coat
    - order dinner
    - order goods
    - order meat by telephone
    - order flour from a store
    - order dinner for three
    •
    CHOICE OF WORDS:
    Русское заказывать соответствует в английском языке глаголам to order smth 2., to book smth и to reserve smth Глагол to book употребляется в ситуациях заказа билетов, права на проезд в транспорте, мест в ресторане: to book train ticket in advance заказать билет на поезд заранее; we need to book well in advance for summer holiday на время летних отпусков билеты надо заказывать заранее; the restaurant is fully booked up в ресторане мест больше нет; I've booked a table for two at the Metropol я заказал столик на двоих в Метрополе. Глагол to reserve обозначает заказывать, бронировать, зарезервировать: to reserve a hotel accommodation (a room) заказывать гостиницу (номер); reserve a seat for me on the plane, please забронируйте мне билет на самолет, пожалуйста
    USAGE:
    (1.) Глагол to order 1. в английском языке (в отличие от русского приказывать, для которого косвенное дополнение необязательно) требует обязательного косвенного дополнения, которое всегда стоит перед последующим инфинитивом: he ordered him to set the dog free он приказал (ему) отпустить собаку. В случаях, когда косвенное дополнение отсутствует, употребляется придаточное предложение, вводимое союзом that и инфинитивной конструкцией с глаголом should: the office ordered that the prisoners should be taken away офицер приказал увести заключенных. (2.) See advice, v

    English-Russian combinatory dictionary > order

  • 14 Edison, Thomas Alva

    [br]
    b. 11 February 1847 Milan, Ohio, USA
    d. 18 October 1931 Glenmont
    [br]
    American inventor and pioneer electrical developer.
    [br]
    He was the son of Samuel Edison, who was in the timber business. His schooling was delayed due to scarlet fever until 1855, when he was 8½ years old, but he was an avid reader. By the age of 14 he had a job as a newsboy on the railway from Port Huron to Detroit, a distance of sixty-three miles (101 km). He worked a fourteen-hour day with a stopover of five hours, which he spent in the Detroit Free Library. He also sold sweets on the train and, later, fruit and vegetables, and was soon making a profit of $20 a week. He then started two stores in Port Huron and used a spare freight car as a laboratory. He added a hand-printing press to produce 400 copies weekly of The Grand Trunk Herald, most of which he compiled and edited himself. He set himself to learn telegraphy from the station agent at Mount Clements, whose son he had saved from being run over by a freight car.
    At the age of 16 he became a telegraphist at Port Huron. In 1863 he became railway telegraphist at the busy Stratford Junction of the Grand Trunk Railroad, arranging a clock with a notched wheel to give the hourly signal which was to prove that he was awake and at his post! He left hurriedly after failing to hold a train which was nearly involved in a head-on collision. He usually worked the night shift, allowing himself time for experiments during the day. His first invention was an arrangement of two Morse registers so that a high-speed input could be decoded at a slower speed. Moving from place to place he held many positions as a telegraphist. In Boston he invented an automatic vote recorder for Congress and patented it, but the idea was rejected. This was the first of a total of 1180 patents that he was to take out during his lifetime. After six years he resigned from the Western Union Company to devote all his time to invention, his next idea being an improved ticker-tape machine for stockbrokers. He developed a duplex telegraphy system, but this was turned down by the Western Union Company. He then moved to New York.
    Edison found accommodation in the battery room of Law's Gold Reporting Company, sleeping in the cellar, and there his repair of a broken transmitter marked him as someone of special talents. His superior soon resigned, and he was promoted with a salary of $300 a month. Western Union paid him $40,000 for the sole rights on future improvements on the duplex telegraph, and he moved to Ward Street, Newark, New Jersey, where he employed a gathering of specialist engineers. Within a year, he married one of his employees, Mary Stilwell, when she was only 16: a daughter, Marion, was born in 1872, and two sons, Thomas and William, in 1876 and 1879, respectively.
    He continued to work on the automatic telegraph, a device to send out messages faster than they could be tapped out by hand: that is, over fifty words per minute or so. An earlier machine by Alexander Bain worked at up to 400 words per minute, but was not good over long distances. Edison agreed to work on improving this feature of Bain's machine for the Automatic Telegraph Company (ATC) for $40,000. He improved it to a working speed of 500 words per minute and ran a test between Washington and New York. Hoping to sell their equipment to the Post Office in Britain, ATC sent Edison to England in 1873 to negotiate. A 500-word message was to be sent from Liverpool to London every half-hour for six hours, followed by tests on 2,200 miles (3,540 km) of cable at Greenwich. Only confused results were obtained due to induction in the cable, which lay coiled in a water tank. Edison returned to New York, where he worked on his quadruplex telegraph system, tests of which proved a success between New York and Albany in December 1874. Unfortunately, simultaneous negotiation with Western Union and ATC resulted in a lawsuit.
    Alexander Graham Bell was granted a patent for a telephone in March 1876 while Edison was still working on the same idea. His improvements allowed the device to operate over a distance of hundreds of miles instead of only a few miles. Tests were carried out over the 106 miles (170 km) between New York and Philadelphia. Edison applied for a patent on the carbon-button transmitter in April 1877, Western Union agreeing to pay him $6,000 a year for the seventeen-year duration of the patent. In these years he was also working on the development of the electric lamp and on a duplicating machine which would make up to 3,000 copies from a stencil. In 1876–7 he moved from Newark to Menlo Park, twenty-four miles (39 km) from New York on the Pennsylvania Railway, near Elizabeth. He had bought a house there around which he built the premises that would become his "inventions factory". It was there that he began the use of his 200- page pocket notebooks, each of which lasted him about two weeks, so prolific were his ideas. When he died he left 3,400 of them filled with notes and sketches.
    Late in 1877 he applied for a patent for a phonograph which was granted on 19 February 1878, and by the end of the year he had formed a company to manufacture this totally new product. At the time, Edison saw the device primarily as a business aid rather than for entertainment, rather as a dictating machine. In August 1878 he was granted a British patent. In July 1878 he tried to measure the heat from the solar corona at a solar eclipse viewed from Rawlins, Wyoming, but his "tasimeter" was too sensitive.
    Probably his greatest achievement was "The Subdivision of the Electric Light" or the "glow bulb". He tried many materials for the filament before settling on carbon. He gave a demonstration of electric light by lighting up Menlo Park and inviting the public. Edison was, of course, faced with the problem of inventing and producing all the ancillaries which go to make up the electrical system of generation and distribution-meters, fuses, insulation, switches, cabling—even generators had to be designed and built; everything was new. He started a number of manufacturing companies to produce the various components needed.
    In 1881 he built the world's largest generator, which weighed 27 tons, to light 1,200 lamps at the Paris Exhibition. It was later moved to England to be used in the world's first central power station with steam engine drive at Holborn Viaduct, London. In September 1882 he started up his Pearl Street Generating Station in New York, which led to a worldwide increase in the application of electric power, particularly for lighting. At the same time as these developments, he built a 1,300yd (1,190m) electric railway at Menlo Park.
    On 9 August 1884 his wife died of typhoid. Using his telegraphic skills, he proposed to 19-year-old Mina Miller in Morse code while in the company of others on a train. He married her in February 1885 before buying a new house and estate at West Orange, New Jersey, building a new laboratory not far away in the Orange Valley.
    Edison used direct current which was limited to around 250 volts. Alternating current was largely developed by George Westinghouse and Nicola Tesla, using transformers to step up the current to a higher voltage for long-distance transmission. The use of AC gradually overtook the Edison DC system.
    In autumn 1888 he patented a form of cinephotography, the kinetoscope, obtaining film-stock from George Eastman. In 1893 he set up the first film studio, which was pivoted so as to catch the sun, with a hinged roof which could be raised. In 1894 kinetoscope parlours with "peep shows" were starting up in cities all over America. Competition came from the Latham Brothers with a screen-projection machine, which Edison answered with his "Vitascope", shown in New York in 1896. This showed pictures with accompanying sound, but there was some difficulty with synchronization. Edison also experimented with captions at this early date.
    In 1880 he filed a patent for a magnetic ore separator, the first of nearly sixty. He bought up deposits of low-grade iron ore which had been developed in the north of New Jersey. The process was a commercial success until the discovery of iron-rich ore in Minnesota rendered it uneconomic and uncompetitive. In 1898 cement rock was discovered in New Village, west of West Orange. Edison bought the land and started cement manufacture, using kilns twice the normal length and using half as much fuel to heat them as the normal type of kiln. In 1893 he met Henry Ford, who was building his second car, at an Edison convention. This started him on the development of a battery for an electric car on which he made over 9,000 experiments. In 1903 he sold his patent for wireless telegraphy "for a song" to Guglielmo Marconi.
    In 1910 Edison designed a prefabricated concrete house. In December 1914 fire destroyed three-quarters of the West Orange plant, but it was at once rebuilt, and with the threat of war Edison started to set up his own plants for making all the chemicals that he had previously been buying from Europe, such as carbolic acid, phenol, benzol, aniline dyes, etc. He was appointed President of the Navy Consulting Board, for whom, he said, he made some forty-five inventions, "but they were pigeonholed, every one of them". Thus did Edison find that the Navy did not take kindly to civilian interference.
    In 1927 he started the Edison Botanic Research Company, founded with similar investment from Ford and Firestone with the object of finding a substitute for overseas-produced rubber. In the first year he tested no fewer than 3,327 possible plants, in the second year, over 1,400, eventually developing a variety of Golden Rod which grew to 14 ft (4.3 m) in height. However, all this effort and money was wasted, due to the discovery of synthetic rubber.
    In October 1929 he was present at Henry Ford's opening of his Dearborn Museum to celebrate the fiftieth anniversary of the incandescent lamp, including a replica of the Menlo Park laboratory. He was awarded the Congressional Gold Medal and was elected to the American Academy of Sciences. He died in 1931 at his home, Glenmont; throughout the USA, lights were dimmed temporarily on the day of his funeral.
    [br]
    Principal Honours and Distinctions
    Member of the American Academy of Sciences. Congressional Gold Medal.
    Further Reading
    M.Josephson, 1951, Edison, Eyre \& Spottiswode.
    R.W.Clark, 1977, Edison, the Man who Made the Future, Macdonald \& Jane.
    IMcN

    Biographical history of technology > Edison, Thomas Alva

  • 15 Fox, Uffa

    SUBJECT AREA: Ports and shipping
    [br]
    b. 15 January 1898 Cowes, Isle of Wight, England
    d. 27 October 1972 Isle of Wight (?), England
    [br]
    English yacht designer.
    [br]
    Coming from a family that had originated in East Anglia, his first name was that of an early British king and was to typify his unusual and refreshing zest for life. Fox commenced his professional career as an apprentice with the flying boat and high-speed craft builders Messrs S.E.Saunders, and shortly after the outbreak of the First World War he was conscripted into the Royal Naval Air Service. In 1920 he made his first transatlantic crossing under sail, a much greater adventure then than now, and returned to the United Kingdom as deck-hand on a ship bound for Liverpool. He was to make the crossing under sail twice more. Shortly after his marriage in 1925, he purchased the old Floating Bridge at Cowes and converted it to living accommodation, workshops and drawing offices. By the 1930s his life's work was in full swing, with designs coming off his drawing board for some of the most outstanding mass-produced craft ever built, as well as for some remarkable one-off yachts. His experimentation with every kind of sailing craft, and even with the Eskimo kayak, gave him the knowledge and experience that made his name known worldwide. During the Second World War he designed and produced the world's first airborne parachuted lifeboat. Despite what could be described as a robust lifestyle, coupled with interests in music, art and horseriding, Fox continued to produce great designs and in the late 1940s he introduced the Firefly, followed by the beautiful Flying Fifteen class of racing keel boats. One of his most unusual vessels was Britannia, the 24 ft (7.3 m) waterline craft that John Fairfax was to row across the Atlantic. Later came Britannia II, which Fairfax took across the Pacific!
    [br]
    Principal Honours and Distinctions
    CBE 1959. Royal Designer to Industry (RDI).
    Bibliography
    Fox produced a series of yachting books, most first published in the late 1930s, and some more lighthearted volumes of reminiscences in the 1960s. Some of the best-known titles are: Sail and Power, Racing and Cruising Design, Uffa Fox's Second Book and The Crest of the Wave.
    Further Reading
    J.Dixon, 1978, Uffa Fox. A Personal Biography, Brighton: Angus \& Robertson.
    FMW

    Biographical history of technology > Fox, Uffa

  • 16 McKay, Donald

    SUBJECT AREA: Ports and shipping
    [br]
    b. 4 September 1810 Shelburne, Nova Scotia, Canada
    d. 20 September 1880 Hamilton, Massachusetts, USA
    [br]
    American shipbuilder of Western Ocean packets and clippers.
    [br]
    Of Scottish stock, McKay was the son of a farmer and the grandson of a loyalist officer who had left the United States after the War of Independence. After some elementary shipwright training in Nova Scotia, McKay travelled to New York to apprentice to the great American shipbuilder Isaac Webb, then building some of the outstanding ships of the nineteenth century. At the age of 21 and a fully fledged journeyman, McKay again set out and worked in various shipyards before joining William Currier in 1841 to establish a yard in Newburyport, Massachusetts. He moved on again in 1843 to form another venture, the yard of McKay and Pickett in the same locality.
    In 1844 McKay came to know Enoch Train of Boston, then proprietor of a fleet of fast clipper ships on the US A-to-Liverpool run. He persuaded McKay to set out on his own and promised to support him with orders for ships. The partnership with Pickett was dissolved amicably and Donald McKay opened the yard in East Boston, from which some of the world's fastest ships were to be launched. McKay's natural ability as a shipwright had been enhanced by the study of mathematics and engineering drawing, something he had learned from his wife Albenia Boole, the daughter of another shipbuilder. He was not too proud to learn from other masters on the East Coast such as William H.Webb and John Willis Griffiths. The first ships from East Boston included the Washington Irvine of 1845 and the Anglo Saxon of 1846; they were well built and had especially comfortable emigrant accommodation. However, faster ships were to follow, almost all three-masted, fully rigged ships with very fine or "extreme" lines, including the Flying Cloud for the Californian gold rush of 1851, the four-masted barque Great Republic; then, c. 1854, the Lightning was ordered by James Baines of Liverpool for his Black Ball Line. The Lightning holds to this day the speed record for a square-rigged ship's daily run. As the years passed the shipbuilding scene changed, and while McKay's did build some iron ships for the US Navy, they became much less profitable and in 1875 the yard closed down, with McKay retiring to take up farming.
    [br]
    Further Reading
    Frank C.Bowen, 1952, "Shipbuilders of other days, Donald McKay of Boston",
    Shipbuilding and Shipping Record (18 September).
    FMW

    Biographical history of technology > McKay, Donald

  • 17 Pullman, George Mortimer

    [br]
    b. 3 March 1831 Brocton, New York, USA
    d. 19 October 1897 Chicago, Illinois, USA
    [br]
    American inventor of the Pullman car.
    [br]
    Pullman was initially a cabinet-maker in Albion, New York, and then became a road-works contractor in Chicago. Observing a need for improved sleeping accommodation on trains, he arranged in 1858 with the Chicago \& Alton Railroad to convert two of their coaches into sleeping cars by incorporating upper berths hinged to the sides of the car. These and a third car entered service in 1859 and were popular with passengers, but other railways were reluctant to adopt them.
    Pullman moved to the Colorado mining area and kept a general store, but in 1863 he returned to Chicago. With Ben Field he spent a year building the car Pioneer, which not only incorporated the folding upper berths but also had seats arranged to convert into lower berths. When Pioneer entered service, the travelling public was enthusiastic: Pullman and Field built more cars, and an increasing number of railways arranged to operate them under contract. In 1867 Pullman and Field organized the Pullman Palace Car Company, which grew to have five car-building plants. Pullman introduced a combined sleeping/restaurant car in 1867 and the dining car in 1868.
    In 1872 James Allport, General Manager of the Midland Railway in Britain, toured the USA and was impressed by Pullman cars. He arranged with Pullman for the American company to ship a series of Pullman cars to Britain in parts for Midland to assemble at its works at Derby. The first, a sleeping car, was completed early in 1874 and entered service on the Midland Railway. Several others followed the same year, including the first Pullman Parlor Car, a luxury coach for day rather than overnight use, to enter service in Europe. Pullman formed the Pullman Palace Car Company (Europe), and although the Midland Railway purchased the Pullman cars running on its system a few years later, Pullman cars were used on many other railways in Britain (notably the London Brighton \& South Coast Railway) and on the continent of Europe. In 1881 the Pullman Parlor Car Globe, running in Britain, became the first vehicle to be illuminated by electric light.
    [br]
    Bibliography
    1864. jointly with Field, US patent no. 42,182 (upper berth).
    1865, jointly with Field, US patent no. 49,992 (the seat convertible into a lower berth).
    Further Reading
    C.Hamilton Ellis, 1965, Railway Carriages in the British Isles, London: George Allen \& Unwin, Ch. 6 (describes the introduction of Pullman cars to Europe).
    PJGR

    Biographical history of technology > Pullman, George Mortimer

  • 18 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 Disorder
       Even 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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