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1 second ***** sec·ond adj , adv , n , vt sense 1) vt sense 2)
[sɪ'kɒnd] I1. adjsecond floor Brit — secondo piano, Am primo piano
in second gear Auto — in seconda
second person Gram — seconda persona
every second day/week — ogni due giorni/settimane
on second thoughts... — ripensandoci meglio...
2. adv1) (in race, competition etc) al secondo postoto come second — arrivare secondo (-a), piazzarsi al secondo posto
it's the second largest fish I've ever caught — ho preso soltanto un pesce più grosso di questo, finora
2) (secondly) in secondo luogo, secondo3. n2)in second Auto — in seconda
3)he came a good second — (in race) è arrivato secondo con un buon tempo
4) Brit Univ laurea con punteggio discreto5)(
Comm: imperfect goods) seconds npl — merce fsg di seconda scelta6)(
fam: second helping) seconds npl — bis m inv4. vt1) (motion, statement) appoggiareI'll second that fig — l'appoggio, sono a favore
2) (Brit: employee) distaccareII ['sɛk(ə)nd] nEnglish-Italian dictionary > second ***** sec·ond adj , adv , n , vt sense 1) vt sense 2)
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2 late
leit
1. adjective1) (coming etc after the expected or usual time: The train is late tonight; I try to be punctual but I am always late.) tarde, atrasado2) (far on in the day or night: late in the day; late at night; It was very late when I got to bed.) tarde3) (dead, especially recently: the late king.) difunto, fallecido4) (recently, but no longer, holding an office or position: Mr Allan, the late chairman, made a speech.) anterior
2. adverb1) (after the expected or usual time: He arrived late for his interview.) tarde2) (far on in the day or night: They always go to bed late.) tarde•- lateness- lately
- later on
- of late
late1 adj1. tardeyou're late, we've missed the plane llegas tarde, hemos perdido el avión2. a finales delate2 adv1. tarde2. con retrasotr[leɪt]1 (not on time) tardío,-a2 (far on in time) tarde3 euphemistic use (dead) difunto,-a, fallecido,-a4 (former) anterior5 (last-minute) de última hora1 tarde2 (recently) recientemente\SMALLIDIOMATIC EXPRESSION/SMALLof late últimamenteto be late in doing something tardar en hacer algoto keep late hours acostarse tarde1) : tardeto arrive late: llegar tardeto sleep late: dormir hasta tarde2) : a última hora, a finaleslate in the month: a finales del mes3) recently: recién, últimamenteas late as last year: todavía en el año pasado1) tardy: tardío, de retrasoto be late: llegar tarde2) : avanzadobecause of the late hour: a causa de la hora avanzada3) deceased: difunto, fallecido4) recent: reciente, últimoour late quarrel: nuestra última peleaadj.• antiguo, -a adj.• atrasado, -a adj.• avanzado, -a adj.• de fines de adj.• difunto, -a adj.• fallecido, -a adj.• finado, -a adj.• malogrado, -a adj.• moderno, -a adj.• reciente adj.• tarde adj.• tardío, -a adj.adv.• tarde adv.
I leɪtadjective later, latest1) (after correct, scheduled time)the late arrival/departure of the train — el retraso en la llegada/salida del tren
late applications will not be accepted — no se aceptarán las solicitudes que lleguen fuera de plazo or con retraso
to be late — \<\<person\>\> llegar* tarde
to make something/somebody late: she made me late for my class me hizo llegar tarde a clase; the accident made the train late el accidente hizo que el tren se retrasara; to be late FOR/WITH something: you'll be late for work/the train vas a llegar tarde al trabajo/perder el tren; I'm late with the rent — estoy atrasado con el alquiler
2)a) ( after usual time)to have a late night/breakfast — acostarse*/desayunar tarde
b) <chrysanthemum/potatoes> tardíohe was a late developer — ( physically) se desarrolló tarde; ( intellectually) maduró tarde
3)a) ( far on in time)b) (before n) <shift/bus> últimothe late film — la película de la noche or (CS) de trasnoche
in late April/summer — a finales or fines de abril/del verano
4) (before n)a) ( deceased) difunto (frml)b) ( former) antiguo
II
adverb later, latest1) (after correct, scheduled time) <arrive/leave> tarde2) ( after usual time) <work/sleep> hasta tarde; <mature/bloom> tarde, más tarde de lo normal3)a) ( recently)b)of late — últimamente, en los últimos tiempos
4) ( toward end of period)late in the morning/afternoon — a última hora de la mañana/tarde
late in the week/year — a finales de la semana/del año
he married late (in life) — se casó mayor or tarde
5) ( far on in time) tarde[leɪt] (compar later) (superl latest)late at night — tarde por la noche, bien entrada la noche
1. ADV1) (=towards end of period, day, month etc)•
late at night — muy de noche, ya entrada la noche•
late in the morning — a última hora de la mañanalate in 1992/May — a finales del año 1992/de mayo
symptoms appear only late in the disease — los síntomas aparecen solo cuando la enfermedad ya está muy avanzada
it wasn't until late in his career that he became famous — solo al final de su carrera se hizo famoso, solo en los últimos años de su carrera se hizo famoso
•
late into the night — hasta bien entrada la noche•
late that night I got a phone call — ya entrada la noche recibí una llamada de teléfono(=too late)•
too late — demasiado tarde2) (=after the usual time) [get up, go to bed] tarde•
she came late to acting — empezó a actuar ya mayor•
Liz had started learning German quite late in life — Liz había empezado a aprender alemán ya mayor•
to sleep late — levantarse tarde•
to stay up late — irse a la cama tarde, trasnochar•
to work late — trabajar hasta tarde3) (=after arranged/scheduled time) [arrive] tarde, con retrasohe arrived ten minutes late — llegó con diez minutos de retraso, llegó diez minutos tarde
•
they arrived late for dinner — llegaron tarde or con retraso a la cena•
we're running late this morning — llevamos retraso esta mañanawe're running about 40 minutes late — llevamos unos 40 minutos de retraso, llevamos un retraso de unos 40 minutos
4) (=recently)•
as late as — aún en•
of late — frm últimamente, recientementeJane Smith, late of Bristol — frm Jane Smith, domiciliada hasta hace poco en Bristol
2. ADJ1) (=towards end of period, day, month etc)late morning — última hora f de la mañana
late evening — última hora f de la tarde
in late September/spring — a finales de septiembre/de la primavera
to be in one's late thirties/forties — rondar los cuarenta/cincuenta, tener cerca de cuarenta/cincuenta años
•
it's getting late — se está haciendo tarde2) (=after arranged or scheduled time)I apologize for my late arrival — perdone/perdonen mi retraso
we apologize for the late arrival/departure of this train — les rogamos disculpen el retraso en la llegada/salida de este tren
our train was late again — nuestro tren se retrasó otra vez, nuestro tren llegó con retraso otra vez
as usual, Jim was late — como siempre, Jim llegó tarde or con retraso, como siempre, Jim se retrasó
sorry I'm late! — ¡siento llegar tarde or con retraso!
you're late! — ¡llegas tarde!
the train is 20 minutes late — el tren llega con 20 minutos de retraso, el tren lleva un retraso de 20 minutos
I was already ten minutes late — ya llegaba diez minutos tarde, ya llevaba diez minutos de retraso
•
I'm late for my train — voy a perder el tren•
a fault on the plane made us two hours late — una avería en el avión nos retrasó dos horas•
I was late with the payments — me había retrasado en los pagos3) (=after usual or normal time) [reservation, booking] de última hora; [crop, flowers] tardío•
we had a late breakfast/ lunch — desayunamos/comimos tarde•
Easter is late this year — la Semana Santa cae tarde este año•
"late opening till ten pm on Fridays" — "los viernes cerramos a las diez"•
my period is late — se me está retrasando la reglanight 1., 1)•
spring is late this year — la primavera llega tarde este año4)•
too late — demasiado tardethey tried to operate, but it was too late — intentaron operar, pero era demasiado tarde
littleit's never too late to... — nunca es demasiado tarde para...
5) (Hist, Art)late Baroque — barroco m tardío
6) (=dead) difunto7) frm (=former) antiguo3.CPDdeveloperlate edition N — edición f de última hora
late trading N — (St Ex) operaciones fpl tras el cierre
* * *
I [leɪt]adjective later, latest1) (after correct, scheduled time)the late arrival/departure of the train — el retraso en la llegada/salida del tren
late applications will not be accepted — no se aceptarán las solicitudes que lleguen fuera de plazo or con retraso
to be late — \<\<person\>\> llegar* tarde
to make something/somebody late: she made me late for my class me hizo llegar tarde a clase; the accident made the train late el accidente hizo que el tren se retrasara; to be late FOR/WITH something: you'll be late for work/the train vas a llegar tarde al trabajo/perder el tren; I'm late with the rent — estoy atrasado con el alquiler
2)a) ( after usual time)to have a late night/breakfast — acostarse*/desayunar tarde
b) <chrysanthemum/potatoes> tardíohe was a late developer — ( physically) se desarrolló tarde; ( intellectually) maduró tarde
3)a) ( far on in time)b) (before n) <shift/bus> últimothe late film — la película de la noche or (CS) de trasnoche
in late April/summer — a finales or fines de abril/del verano
4) (before n)a) ( deceased) difunto (frml)b) ( former) antiguo
II
adverb later, latest1) (after correct, scheduled time) <arrive/leave> tarde2) ( after usual time) <work/sleep> hasta tarde; <mature/bloom> tarde, más tarde de lo normal3)a) ( recently)b)of late — últimamente, en los últimos tiempos
4) ( toward end of period)late in the morning/afternoon — a última hora de la mañana/tarde
late in the week/year — a finales de la semana/del año
he married late (in life) — se casó mayor or tarde
5) ( far on in time) tardelate at night — tarde por la noche, bien entrada la noche
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3 play
play [pleɪ]━━━━━━━━━━━━━━━━━1. noun4. compounds━━━━━━━━━━━━━━━━━1. noun• there was some good play in the second half on a assisté à du beau jeu pendant la deuxième mi-temps• to bring or call sth into play faire intervenir qchb. ( = movement) jeu mc. ( = drama) pièce f (de théâtre)• to be in a play [actor] jouer dans une piècea. [+ game, sport] jouer à• what position does she play? à quelle place joue-t-elle ?• don't play games with me! ne vous moquez pas de moi !• to play ball with sb ( = cooperate) coopérer avec qn• to play the game ( = play fair) jouer le jeu• he gave up playing the field and married a year ago il a cessé de papillonner et s'est marié il y a un anb. [+ opponent] rencontrerc. [+ chess piece, card] jouerf. ( = direct) [+ hose, searchlight] dirigera. jouer► play + preposition• what's he playing at? (inf) à quoi il joue ?• how much time do we have to play with? (inf) combien de temps avons-nous ?4. compounds► play-off noun (after a tie) ≈ match m de barrage (départageant des concurrents à égalité) ; (US) (for championship) match m de qualification[+ tape] réécouter( = minimize importance of) [+ significance] minimiser ; [+ situation, attitude] dédramatiser[+ sb's emotions, good nature] jouer sur( = give trouble) the engine is playing up le moteur fait des siennesa. ( = give trouble to) his leg is playing him up sa jambe le tracasseb. ( = magnify importance of) exagérer (l'importance de)* * *[pleɪ] 1.2) (amusement, recreation)3) Sport, Gamesthe ball is out of play/in play — la balle est hors jeu/en jeu
4) fig (movement, interaction) jeu m2.transitive verb1) jouer à [game, match, cards]; jouer [card]to play goal — ( in football) être gardien de but
to play the ball to somebody — ( in basketball) passer la balle à quelqu'un
2) Music jouer de [instrument]; jouer [tune, symphony, chord]3) ( act out) Theatre interpréter, jouer [role]4) Audio mettre [tape, video, CD]5) Finance3.to play the stock market — boursicoter (colloq)
1) [children] jouer ( with avec)2) figwhat does he think he's playing at? — GB (colloq) qu'est-ce qu'il fabrique (colloq)?
3) Sport, Games jouer5) Cinema, Theatre [play] se jouer; [film] passer; [actor] jouershe's playing opposite him in ‘Macbeth’ — elle lui donne la réplique dans ‘Macbeth’
6) [fountain, water] couler; Music [record] jouer•Phrasal Verbs:- play off- play on- play out- play up••all work and no play (makes Jack a dull boy) — Prov il n'y a pas que le travail dans la vie
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4 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
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5 moonlight
moonlight ['mu:nlaɪt]1 nounclair m de lune;∎ they took a walk by moonlight ils se sont promenés au clair de (la) lune;(walk) au clair de (la) lune
См. также в других словарях:
second — second, onde [ s(ə)gɔ̃, ɔ̃d ] adj. et n. • XIIe; secunt 1119; lat. secundus « suivant », de sequi « suivre » I ♦ Adj. (généralt avant le nom) et n. 1 ♦ Qui vient après une chose de même nature; qui suit le premier. ⇒ deuxième(on emploie … Encyclopédie Universelle
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