in+various+countries

1. adjective

2. noun

1) a person who is under the rule of a monarch or a member of a country that has a monarchy etc:

2) someone or something that is talked about, written about etc:

3) a branch of study or learning in school, university etc:

4) a thing, person or circumstance suitable for, or requiring, a particular kind of treatment, reaction etc:

5) in English, the word(s) representing the person or thing that usually does the action shown by the verb, and with which the verb agrees:

3. [səbˈdʒekt] verb

1) to bring (a person, country etc) under control:

2) to cause to suffer, or submit (to something):

(?- 1355)

   Born in Galicia, Inês de Castro came from an important Castilian family; she went to Portugal in the retinue of the Castilian princess Constança, who married Pedro I, when he was a prince. Inês and Pedro fell in love, had one or two children, and continued their relationship despite the existence of the approved royal marriage to Constança. This contributed to the premature death of Constança and introduced once again the fear of Castil-ian intervention in Portugal into royal court politics. Pedro's father, King Afonso IV, feared that Ines's Castilian family might meddle in succession politics and threaten the future accession of Pedro and Constança's legitimate son, Fernando, to the Portuguese throne. Taking advice from leading counselors, King Afonso had Inês murdered in 1355. For a while, Pedro rebelled against his father's action, but later a truce was declared.

   Historians debate what happened next, but in the following century, after Pedro's death, a legend grew in Spain that became the basis for the romantic story of Pedro and the corpse of Inês. The legend was adopted in various novels, operas, songs, poetry, and folklore, and was noteworthy in the literature of France, Portugal, and other countries. It was said that Pedro tracked down and killed all who had been involved in Inês's murder, then disinterred her corpse, put it on the throne, and ceremonially acclaimed it queen of Portugal.

   Traditional urban song and music sung by a man or woman, to the accompaniment of two stringed instruments. The Portuguese word, fado, derives from the Latin word for fate ( fatum), and the fado's usage does not distinguish the sex of the singer. Traditionally, wherever the fado is performed, the singer, the fadista—who is often but not always a woman wearing a shawl around her shoulders—is accompanied by the Portuguese guitarra, a 12-stringed mandolin-like instrument or lute, and the viola, a Spanish guitar. There are at least two contemporary variations of the fado: the Lisbon fado and the Coimbra or university student fado. While some authorities describe the song as typical of the urban working classes, its popularity and roots are wider than only this group and it appears that, although the song's historic origins are urban and working class, its current popularity is more universal. The historic origins of the fado are not only obscure but hotly debated among scholars and would-be experts. Some suggest that its origins are Brazilian and African, while others detect a Muslim, North African element mixed with Hispanic.

   After the Revolution of 25 April 1974, there was talk that the fado's days were numbered as a popular song because it seemed an obsolete, regime-encouraged entertainment, which, like a drug or soporific, encouraged passivity. In the new Portugal, however, the fado is still popular among various classes, as well as among an increasingly large number of visitors and tourists. The fado is performed in restaurants, cafes, and special fado houses, not only in Portugal and other Lusophone countries like Brazil, but wherever Portuguese communities gather abroad. Although there do not appear to be schools of fado, fadistas learn their trade by apprenticeship to senior performers, both men and women.

   In fado history, Portugal's most celebrated fadista was Amália Rodrigues, who died in 1999. She made her premier American debut in New York's Carnegie Hall in the 1950s, at about the same time Americans were charmed by a popular song of the day, April in Portugal, an American version of a traditional Portuguese fado called Fado de Coimbra, about Coimbra University's romantic traditions. The most celebrated fadista of the first decade of the 21st century is Marisa dos Reis Nunes, with the stage name of Mariza, who embodies a new generation of singers' contemporary interpretation of fado. The predominant tone of the Lisbon variation of the fado, sung often in the areas of Alfama, Mouraria, Bairro Alto, and Alcântara, is that of nostalgia and saudade — sadness and regret. Traditionally, the Coimbra version has a lighter, less somber tone.

    See also Santos, José Manuel Cerqueira Afonso.

   The Portuguese role in the Atlantic slave trade (ca. 1500-1850), next to Portugal's motives for empire and the nature of her colonial rule, remains one of the most controversial historical questions. The institution of slavery was conventional in Roman and Visigothic Portugal, and the Catholic Church sanctioned it. The origins of an international traffic in enslaved African captives in the Atlantic are usually dated to after the year 1411, when the first black African slaves were brought to Portugal (Lagos) and sold, but there were activities a century earlier that indicated the beginnings. In the 1340s, under King Afonso IV, Portuguese had captured native islanders on voyages to the Canary Islands and later used them as slave labor in the sugar plantations of Madeira. After 1500, and especially after the 1550s, when African slave-worked plantations became established in Brazil and other American colonies, the Atlantic slave trade became a vast international enterprise in which Portugal played a key role. But all the European maritime powers were involved in the slave trade from 1500 to 1800, including Great Britain, France, and Holland, those countries that eventually pressured Portugal to cease the slave trade in its empire.

   No one knows the actual numbers of Africans enslaved in the nefarious business, but it is clear that millions of persons during more than three-and-a-half centuries were forcibly stolen from African societies and that the survivors of the terrible slave voyages helped build the economies of the Americas. Portugal's role in the trade was as controversial as its impact on Portuguese society. Comparatively large numbers of African slaves resided in Portugal, although the precise number remains a mystery; by the last quarter of the 18th century, when the prime minister of King José I, the Marquis of Pombal abolished slavery in Portugal, the African racial element had been largely absorbed in Portuguese society.

   Great Portuguese fortunes were built on the African slave trade in Portugal, Brazil, and Angola, and the slave trade continued in the Portuguese empire until the 1850s and 1860s. The Angolan slave trade across the Atlantic was doomed after Brazil banned the import of slaves in 1850, under great pressure from Britain. As for slavery in Portugal's African empire, various forms of this institution, including forced labor, continued in Angola and Mozambique until the early 1960s. A curious vestige of the Portuguese role in the African slave trade over the centuries is found in the family name, appearing in Lisbon telephone books, of Negreiro, which means literally, "One who trades in (African) Negro slaves."

SUBJECT AREA: Paper and printing

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According to his own account, Caxton was born in Kent and received a schooling before entering the Mercers' Company, one of the most influential of the London guilds and engaged in the wholesale export trade in woollen goods and other wares, principally with the Low Countries. Around 1445, Caxton moved to Bruges, where he engaged in trade with such success that in 1462 he was appointed Governor of the English Nation in Bruges. He was entrusted with diplomatic missions, and his dealings with the court of Burgundy brought him into contact with the Duchess, Margaret of York, sister of the English King Edward IV. Caxton embarked on the production of fine manuscripts, making his own translations from the French for the Duchess and other noble patrons with a taste for this kind of literature. This trend became more marked after 1470–1 when Caxton lost his post in Bruges, probably due to the temporary overthrow of King Edward. Perhaps to satisfy an increasing demand for his texts, Caxton travelled to Cologne in 1471 to learn the art of printing. He set up a printing business in Bruges, in partnership with the copyist and bookseller Colard Mansion. There, late in 1474 or early the following year, Caxton produced the first book to be printed in English, and the first by an English printer, The Recuyell of the Histories of Troy, which he had translated from the French.

In 1476 Caxton returned to England and set up his printing and publishing business "at the sign of the Red Pale" within the precincts of Westminster Abbey. This was more conveniently placed than the City of London for the likely customers among the court and Members of Parliament for the courtly romances and devotional works he aimed to produce. Other printers followed but survived only a few years, whereas Caxton remained successful for fifteen years and then bequeathed a flourishing concern to his assistant Wynkyn de Worde. During that time, 107 printed works, including seventy-four books, issued from Caxton's press. Of these, some twenty were his own translations. As printer and publisher, he did much to promote English literature, above all by producing the first editions of the literary masterpieces of the Middle Ages, such as the works of Chaucer, Gower and Lydgate and Malory's Morte d'Arthur. Among the various dialects of spoken English in use at the time, Caxton adopted the language of London and the court and so did much to fix a permanent standard for written English.

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See also: Gutenberg, Johann Gensfleisch zum

SUBJECT AREA: Aerospace

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During the First World War, Marcel Bloch (he later changed his name to Dassault) worked on French military aircraft and developed a very successful propeller. With his associate, Henri Potez, he set up a company to produce their Eclair wooden propeller in a furniture workshop in Paris. In 1917 they produced a two-seater aircraft which was ordered but then cancelled when the war ended. Potez continued to built aircraft under his own name, but Bloch turned to property speculation, at which he was very successful. In 1930 Bloch returned to the aviation business with an unsuccessful bomber followed by several moderately effective airliners, including the Bloch 220 of 1935, which was similar to the DC-3. He was involved in the design of a four-engined airliner, the SNCASE Languedoc, which flew in September 1939. During the Second World War, Bloch and his brothers became important figures in the French Resistance Movement. Marcel Bloch was eventually captured but survived; however, one of his brothers was executed, and after the war Bloch changed his name to Dassault, which had been his brother's code name in the Resistance. During the 1950s, Avions Marcel Dassault rapidly grew to become Europe's foremost producer of jet fighters. The Ouragon was followed by the Mystère, Etendard and then the outstanding Mirage series. The basic delta-winged Mirage III, with a speed of Mach 2, was soon serving in twenty countries around the world. From this evolved a variable geometry version, a vertical-take-off aircraft, an enlarged light bomber capable of carrying a nuclear bomb, and a swept-wing version for the 1970s. Dassault also produced a successful series of jet airliners starting with the Fan Jet Falcon of 1963. When the Dassault and Breguet companies merged in 1971, Marcel Dassault was still a force to be reckoned with.

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SUBJECT AREA: Horology, Metallurgy

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Guillaume came from a family of clock-and watchmakers. He was educated at the Gymnasium in Neuchâtel and at Zurich Polytechnic, from which he received his doctorate in 1883 for a thesis on electrolytic capacitors. In the same year he joined the International Bureau of Weights and Measures at Sèvres in France, where he was to spend the rest of his working life. He retired as Director in 1936. At the bureau he was involved in distributing the national standards of the metre to countries subscribing to the General Conference on Weights and Measures that had been held in 1889. This made him aware of the crucial effect of thermal expansion on the lengths of the standards and he was prompted to look for alternative materials that would be less costly than the platinum alloys which had been used. While studying nickel steels he made the surprising discovery that the thermal expansion of certain alloy compositions was less than that of the constituent metals. This led to the development of a steel containing about 36 per cent nickel that had a very low thermal coefficient of expansion. This alloy was subsequently named "invar", an abbreviation of invariable. It was well known that changes in temperature affected the timekeeping of clocks by altering the length of the pendulum, and various attempts had been made to overcome this defect, most notably the mercury-compensated pendulum of Graham and the gridiron pendulum of Harrison. However, an invar pendulum offered a simpler and more effective method of temperature compensation and was used almost exclusively for pendulum clocks of the highest precision.

Changes in temperature can also affect the timekeeping of watches and chronometers, but this is due mainly to changes in the elasticity or stiffness of the balance spring rather than to changes in the size of the balance itself. To compensate for this effect Guillaume developed another more complex nickel alloy, "elinvar" (elasticity invariable), whose elasticity remained almost constant with changes in temperature. This had two practical consequences: the construction of watches could be simplified (by using monometallic balances) and more accurate chronometers could be made.

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See also: Le Roy, Pierre

SUBJECT AREA: Architecture and building

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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.

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SUBJECT AREA: Mining and extraction technology

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After attending schools in Langres and Dijon, Jobard worked in Groningen and Maastricht as a cadastral officer from 1811 onwards. After the Netherlands had been constituted as a new state in 1814, he became a Dutch citizen in 1815 and settled in Brussels. In 1825, when he had learned of the invention of lithography by Alois Senefelder, he retired and established a renowned lithographic workshop in Belgium, with considerable commercial profit. After the political changes which led to the separation of Belgium from the Netherlands in 1830, he devoted his activities to the progress of science and industry in this country, in the traditional idea of enlightenment. His main aim was to promote all branches of the young economy, to which he contributed with ceaseless energy. He cultivated especially the transfer of technology in many articles he wrote on his various journeys, such as to Britain, France, Germany and Switzerland, and he continued to do so when he became the Director of the Museum of Industry in Brussels in 1841, editing its Bulletin until his death. Jobard, as a member of societies for the encouragement of arts and industry in many countries, published on almost any subject and produced many inventions. Being a restless character by nature, and having, in addition, a strong attitude towards designing and constructing, he also contributed to mining technology in 1828 when he was the first European to practise successfully the Chinese method of rope drilling near Brussels.

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SUBJECT AREA: Agricultural and food technology, Electricity, Mechanical, pneumatic and hydraulic engineering, Steam and internal combustion engines

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Gustaf de Laval was educated at the Stockholm Technical Institute and Uppsala University. He proved to have an unfailing vigour and variety in his inventive talent, for his interests ranged from electric lighting and electrometallurgy to aerodynamics. In the 1890s he employed over one hundred engineers to develop his inventions, but he was best known for two: the cream separator and a steam turbine. In 1877 he invented the high-speed centrifugal cream separator, which was probably the greatest advance in butter-making up to that time. By 1880 the separators were being successfully marketed all over the world, for they were quickly adopted in larger dairies where they effected enormous savings in labour and space. He followed this with various devices for the dairy industry, including a vacuum milking machine perfected in 1913. In c. 1882, de Laval invented a turbine on the principle of Hero's engine, but he quickly turned his attention to the impulse type, which was like Branca's, with a jet of steam impinging on a set of blades around the periphery of a wheel. He applied for a British patent in 1889. The steam was expanded in a single stage from the initial to the final pressure: to secure economy with the steam issuing at high velocity, the blades also had to rotate at high velocity. An early 5 hp (3.7 kW) turbine rotated at 30,000 rpm, so reduction gearing had to be introduced. Production started in Sweden in 1893 and in other countries at about the same time. In 1892 de Laval proposed employing one of his turbines of 15 hp (11 kW) in an experimental launch, but there is no evidence that it was ever actually installed in a vessel. However, his turbines were popular for powering electric generating sets for lighting textile mills and ships, and by 1900 were available in sizes up to 300 bhp (224 kW).

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SUBJECT AREA: Chemical technology

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Orphaned at an early age, Leblanc was sent by his guardian, a doctor, to study medicine at the Ecole de Chirurgie in Paris. Around 1780 he entered the service of the Duke of Orléans as Surgeon. There he was able to pursue his interest in chemistry by carrying out research, particularly into crystallization; this bore fruit in a paper to the Royal Academy of Sciences in 1786, published in 1812 as a separate work entitled Crystallotechnie. At that time there was much concern that supplies of natural soda were becoming insufficient to meet the increasing demands of various industries, textile above all. In 1775 the Academy offered a prize of 2,400 livres for a means of manufacturing soda from sea salt. Several chemists studied the problem, but the prize was never awarded. However, in 1789 Leblanc reported in the Journal de physique for 1789 that he had devised a process, and he applied to his patron for support. The Duke had the process subjected to tests, and when these proved favourable he, with Leblanc and the referee, formed a company in February 1790 to exploit it. A patent was granted in 1791 and, with the manufacture of a vital substance at low cost based on a raw material, salt in unlimited supply, a bright prospect seemed to open out for Leblanc. The salt was treated with sulphuric acid to form salt-cake (sodium sulphate), which was then rotated with coal and limestone to form a substance from which the soda was extracted with water followed by evaporation. Hydrochloric acid was a valuable by-product, from which could be made calcium chloride, widely used in the textile and paper industries. The factory worked until 1793, but did not achieve regular production, and then disaster struck: Leblanc's principal patron, the Duke of Orléans, perished under the guillotine in the reign of terror; the factory was sequestered by the Revolutionary government and the agreement was revoked. Leblanc laboured in vain to secure adequate compensation. Eventually a grant was made towards the cost of restoring the factory, but it was quite inadequate, and in despair, Leblanc shot himself. However, his process proved to be one of the greatest inventions in the chemical industry, and was taken up in other countries and remained the leading process for the production of soda for a century. In 1855 his family tried again to vindicate his name and achieve compensation, this time with success.

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SUBJECT AREA: Mechanical, pneumatic and hydraulic engineering, Weapons and armour

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Francis A.Pratt served an apprenticeship as a machinist with Warren Aldrich, and on completing it in 1848 he entered the Gloucester Machine Works as a journeyman machinist. From 1852 to 1854 he worked at the Colt Armory in Hartford, Connecticut, where he met his future partner, Amos Whitney. He then became Superintendent of the Phoenix Iron Works, also at Hartford and run by George S.Lincoln \& Company. While there he designed the well-known "Lincoln" miller, which was first produced in 1855. This was a development of the milling machine built by Robbins \& Lawrence and designed by F.W. Howe, and incorporated a screw drive for the table instead of the rack and pinion used in the earlier machine.

Whitney also moved to the Phoenix Iron Works, and in 1860 the two men started in a small way doing machine work on their own account. In 1862 they took a third partner, Monroe Stannard, and enlarged their workshop. The business continued to expand, but Pratt and Whitney remained at the Phoenix Iron Works until 1864 and in the following year they built their first new factory. The Pratt \& Whitney Company was incorporated in 1869 with a capital of $350,000, F.A.Pratt being elected President. The firm specialized in making machine tools and tools particularly for the armament industry. In the 1870s Pratt made no less than ten trips to Europe gaining orders for equipping armouries in many different countries. Pratt \& Whitney was one of the leading firms developing the system of interchangeable manufacture which led to the need to establish national standards of measurement. The Rogers-Bond Comparator, developed with the backing of Pratt \& Whitney, played an important part in the establishment of these standards, which formed the basis of the gauges of many various types made by the firm. Pratt remained President of the company until 1898, after which he served as their Consulting Engineer for a short time before retiring from professional life. He was granted a number of patents relating to machine tools. He was a founder member of the American Society of Mechanical Engineers in 1880 and was elected a vice-president in 1881. He was an alderman of the city of Hartford.

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SUBJECT AREA: Mining and extraction technology

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After studying law, philosophy and politics at the University of Olmutz (now Olomouc), in 1835 Rittinger became a fellow of the Mining Academy in Schemnitz (now Banská Štiavnica), Slovakia. In 1839, the year he finished at the academy, he published a book on perspective drawing. The following year, he became Inspector of Mills at the ore mines in Schemnitz, and in 1845 he was engaged in coal mining in Bohemia and Moravia. In 1849 he joined the mining administration at Joachimsthal (now Jáchymov), Bohemia. In these early years he contributed his first important innovations for the mining industry and thus fostered his career in the government's service. In 1850 he was called to Vienna to become a high-ranked officer in various ministries. He was responsible for the construction of buildings, pumping installations and all sorts of machinery in the mining industry; he reorganized the curricula of the mining schools, was responsible for the mint and became head of the department of mines, forests and salt-works in the Austrian empire.

During all his years of public service, Rittinger continued his concern with technological innovations. He improved the processing of ores by introducing in 1844 the rotary washer and the box classifier, and later his continuously shaking concussion table which, having been exhibited at the Vienna World Fair of 1873, was soon adopted in other countries. He constructed water-column pumps, invented a differential shaft pump with hydraulic linkage to replace the heavy iron rods and worked on centrifugal pumps. He was one of the first to be concerned with the transfer of heat, and he developed a system of using exhaust steam for heating in salt-works. He kept his eye on current developments abroad, using his function as official Austrian commissioner to the world exhibitions, on which he published frequently as well as on other matters related to technology. With his systematic handbook on mineral processing, first published in 1867, he emphasized his international reputation in this specialized field of mining.

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SUBJECT AREA: Architecture and building, Civil engineering

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Villard was one of the thirteenth-century architect-engineers who were responsible for the design and construction of the great Gothic cathedrals and other churches of the time. Their responsibilities covered all aspects of the work, including (in the spirit of the Roman architect Vitruvius) the invention and construction of mechanical devices. In their time, these men were highly esteemed and richly rewarded, although few of the inscriptions paying tribute to their achievements have survived. Villard stands out among them because a substantial part of his sketchbook has survived, in the form of thirty-three parchment sheets of drawings and notes, now kept in the Bibliothèque Nationale in Paris. Villard's professional career lasted roughly from 1225 to 1250. As a boy, he went to work on the building of the Cistercian monastery at Vaucelles, not far from Honnecourt, and afterwards he was apprenticed to the masons' lodge at Cambrai Cathedral, where he began copying the drawings and layouts on the tracing-house floor. All his drawings are, therefore, of the plans, elevations and sections of cathedrals. These buildings have long since been destroyed, but his drawings, perhaps among his earliest, bear witness to their architecture. He travelled widely in France and recorded features of the great works at Reims, Laon and Chartres. These include the complex system of passageways built into the fabric of a great cathedral; Villard comments that one of their purposes was "to allow circulation in case of fire".

Villard was invited to Hungary and reached there c. 1235. He may have been responsible for the edifice dedicated to St Elizabeth of Hungary, canonized in 1235, at Kassa (now Košice, Slovakia). Villard probably returned to France c. 1240, at least before the Tartar invasion of Hungary in 1241.

His sketchbook, which dates to c. 1235, stands as a memorial to Villard's skill as a draughtsman, a student of perspective and a mechanical engineer. He took his sketchbook with him on his travels, and used ideas from it in his work abroad. It contains architectural designs, geometrical constructions for use in building, surveying exercises and drawings for various kinds of mechanical devices, for civil or military use. He was transmitting details from the highly developed French Gothic masons to the relatively underdeveloped eastern countries. The notebooks were annotated for the use of pupils and other master masons, and the notes on geometry were obviously intended for pupils. The prize examples are the pages in the book, clearly Villard's own work, related to mechanical devices. Whilst he, like many others of the period and after, played with designs for perpetual-motion machines, he concentrated on useful devices. These included the first Western representation of a perpetualmotion machine, which at least displays a concern to derive a source of energy: this was a water-powered sawmill, with automatic feed of the timber into the mill. This has been described as the first industrial automatic power-machine to involve two motions, for it not only converts the rotary motion of the water-wheel to the reciprocating motion of the saw, but incorporates a means of keeping the log pressed against the saw. His other designs included water-wheels, watermills, the Archimedean screw and other curious devices.

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ὁ, ἡ, τό pl. οἱ, αἱ, τά article, derived fr. a demonstrative pronoun, ‘the’. Since the treatment of the inclusion and omission of the art. belongs to the field of grammar, the lexicon can limit itself to exhibiting the main features of its usage. It is difficult to set hard and fast rules for the employment of the art., since the writer’s style had special freedom of play here—Kühner-G. I p. 589ff; B-D-F §249–76; Mlt. 80–84; Rob. 754–96; W-S. §17ff; Rdm.² 112–18; Abel §28–32; HKallenberg, RhM 69, 1914, 642ff; FVölker, Syntax d. griech. Papyri I, Der Artikel, Progr. d. Realgymn. Münster 1903; FEakin, AJP 37, 1916, 333ff; CMiller, ibid. 341ff; EColwell, JBL 52, ’33, 12–21 (for a critique s. Mlt-H.-Turner III 183f); ASvensson, D. Gebr. des bestimmten Art. in d. nachklass. Epik ’37; RFink, The Syntax of the Greek Article ’53; JRoberts, Exegetical Helps, The Greek Noun with and without the Article: Restoration Qtly 14, ’71, 28–44; HTeeple, The Greek Article with Personal Names in the Synoptic Gospels: NTS 19, ’73, 302–17; Mussies 186–97.

① this one, that one, the art. funct. as demonstrative pronoun

ⓐ in accordance w. epic usage (Hes., Works 450: ἡ=this [voice]) in the quot. fr. Arat., Phaenom. 5 τοῦ γὰρ καὶ γένος ἐσμέν for we are also his (lit. this One’s) offspring Ac 17:28.

ⓑ ὁ μὲν … ὁ δέ the one … the other (Polyaenus 6, 2, 1 ὁ μὲν … ὁ δὲ … ὁ δε; PSI 512, 21 [253 B.C.]); pl. οἱ μὲν … οἱ δέ (PSI 341, 9 [256 B.C.]; TestJob 29:1) some … others w. ref. to a noun preceding: ἐσχίσθη τὸ πλῆθος … οἱ μὲν ἦσαν σὺν τοῖς Ἰουδαίοις, οἱ δὲ σὺν τοῖς ἀποστόλοις Ac 14:4; 17:32; 28:24; 1 Cor 7:7; Gal 4:23; Phil 1:16f. Also without such a relationship expressed τοὺς μὲν ἀποστόλους, τοὺς δὲ προφήτας, τοὺς δὲ εὐαγγελιστάς Eph 4:11. οἱ μὲν … ὁ δέ Hb 7:5f, 20f. οἱ μὲν … ἄλλοι (δέ) J 7:12. οἱ μὲν … ἄλλοι δὲ … ἕτεροι δέ Mt 16:14. τινὲς … οἱ δέ Ac 17:18 (cp. Pla., Leg. 1, 627a; 2, 658 B.; Aelian, VH 2, 34; Palaeph. 6, 5).—Mt 26:67; 28:17 οἱ δέ introduces a second class; just before this, instead of the first class, the whole group is mentioned (cp. X., Hell. 1, 2, 14, Cyr. 3, 2, 12; KMcKay, JSNT 24, ’85, 71f)= but some (as Arrian, Anab. 5, 2, 7; 5, 14, 4; Lucian, Tim. 4 p. 107; Hesych. Miles. [VI A.D.]: 390 Fgm. 1, 35 end Jac.).

ⓒ To indicate the progress of the narrative, ὁ δέ, οἱ δέ but he, but they (lit. this one, they) is also used without ὁ μέν preceding (likew. Il. 1, 43; Pla., X.; also Clearchus, Fgm. 76b τὸν δὲ εἰπεῖν=but this man said; pap examples in Mayser II/1, 1926, 57f) e.g. Mt 2:9, 14; 4:4; 9:31; Mk 14:31 (cp. Just., A II, 2, 3). ὁ μὲν οὖν Ac 23:18; 28:5. οἱ μὲν οὖν 1:6; 5:41; 15:3, 30.—JO’Rourke, Paul’s Use of the Art. as a Pronoun, CBQ 34, ’72, 59–65.

② the, funct. to define or limit an entity, event, or state

ⓐ w. nouns

α. w. appellatives, or common nouns, where, as in Pla., Thu., Demosth. et al., the art. has double significance, specific or individualizing, and generic.

א. In its individualizing use it focuses attention on a single thing or single concept, as already known or otherwise more definitely limited: things and pers. that are unique in kind: ὁ ἥλιος, ἡ σελήνη, ὁ οὐρανός, ἡ γῆ, ἡ θάλασσα, ὁ κόσμος, ἡ κτίσις, ὁ θεός (BWeiss [s. on θεός, beg.]), ὁ διάβολος, ὁ λόγος (J 1:1, 14), τὸ φῶς, ἡ σκοτία, ἡ ζωή, ὁ θάνατος etc. (but somet. the art. is omitted, esp. when nouns are used w. preps.; B-D-F §253, 1–4; Rob. 791f; Mlt-Turner 171). ἐν συναγωγῇ καὶ ἐν τῷ ἱερῷ J 18:20.—Virtues, vices, etc. (contrary to Engl. usage): ἡ ἀγάπη, ἡ ἀλήθεια, ἡ ἁμαρτία, ἡ δικαιοσύνη, ἡ σοφία et al.—The individualizing art. stands before a common noun that was previously mentioned (without the art.): τοὺς πέντε ἄρτους Lk 9:16 (after πέντε ἄρτοι vs. 13). τὸ βιβλίον 4:17b (after βιβλίον, vs. 17a), τοὺς μάγους Mt 2:7 (after μάγοι, vs. 1). J 4:43 (40); 12:6 (5); 20:1 (19:41); Ac 9:17 (11); Js 2:3 (2); Rv 15:6 (1).—The individ. art. also stands before a common noun which, in a given situation, is given special attention as the only or obvious one of its kind (Hipponax [VI B.C.] 13, 2 West=D.³ 16 ὁ παῖς the [attending] slave; Diod S 18, 29, 2 ὁ ἀδελφός=his brother; Artem. 4, 71 p. 245, 19 ἡ γυνή=your wife; ApcEsdr 6:12 p. 31, 17 μετὰ Μωσῆ … ἐν τῷ ὄρει [Sinai]; Demetr. (?): 722 fgm 7 Jac. [in Eus., PE 9, 19, 4] ἐπὶ τὸ ὄρος [Moriah]) τῷ ὑπηρέτῃ to the attendant (who took care of the synagogue) Lk 4:20. εἰς τὸν νιπτῆρα into the basin (that was there for the purpose) J 13:5. ἰδοὺ ὁ ἄνθρωπο here is this (wretched) man 19:5. ἐκ τῆς παιδίσκης or ἐλευθέρας by the (well-known) slave woman or the free woman (Hagar and Sarah) Gal 4:22f. τὸν σῖτον Ac 27:38. ἐν τῇ ἐπιστολῇ 1 Cor 5:9 (s. ἐπιστολή) τὸ ὄρος the mountain (nearby) Mt 5:1; 8:1; 14:23; Mk 3:13; 6:46; Lk 6:12; 9:28 al.; ἡ πεισμονή this (kind of) persuasion Gal 5:8. ἡ μαρτυρία the (required) witness or testimony J 5:36.—The art. takes on the idea of κατʼ ἐξοχήν ‘par excellence’ (Porphyr., Abst. 24, 7 ὁ Αἰγύπτιος) ὁ ἐρχόμενος the one who is (was) to come or the coming one par excellence=The Messiah Mt 11:3; Lk 7:19. ὁ προφήτης J 1:21, 25; 7:40. ὁ διδάσκαλος τ. Ἰσραήλ 3:10 (Ps.-Clem., Hom. 5, 18 of Socrates: ὁ τῆς Ἑλλάδος διδάσκαλος); cp. MPol 12:2. With things (Stephan. Byz. s.v. Μάρπησσα: οἱ λίθοι=the famous stones [of the Parian Marble]) ἡ κρίσις the (last) judgment Mt 12:41. ἡ ἡμέρα the day of decision 1 Cor 3:13; (cp. Mi 4:6 Mt); Hb 10:25. ἡ σωτηρία (our) salvation at the consummation of the age Ro 13:11.

ב. In its generic use it singles out an individual who is typical of a class, rather than the class itself: ὁ ἀγαθὸς ἄνθρωπος Mt 12:35. κοινοῖ τὸν ἄνθρωπον 15:11. ὥσπερ ὁ ἐθνικός 18:17. ὁ ἐργάτης Lk 10:7. ἐγίνωσκεν τί ἦν ἐν τῷ ἀνθρώπῳ J 2:25. τὰ σημεῖα τοῦ ἀποστόλου 2 Cor 12:12. ὁ κληρονόμος Gal 4:1. So also in parables and allegories: ὁ οἰκοδεσπότης Mt 24:43. Cp. J 10:11b, 12. The generic art. in Gk. is often rendered in Engl. by the indef. art. or omitted entirely.

β. The use of the art. w. personal names is varied; as a general rule the presence of the art. w. a personal name indicates that the pers. is known; without the art. focus is on the name as such (s. Dssm., BPhW 22, 1902, 1467f; BWeiss, D. Gebr. des Art. b. d. Eigennamen [im NT]: StKr 86, 1913, 349–89). Nevertheless, there is an unmistakable drift in the direction of Mod. Gk. usage, in which every proper name has the art. (B-D-F §260; Rob. 759–61; Mlt-Turner 165f). The ms. tradition varies considerably. In the gospels the art. is usu. found w. Ἰησοῦς; yet it is commonly absent when Ἰ. is accompanied by an appositive that has the art. Ἰ. ὁ Γαλιλαῖος Mt 26:69; Ἰ. ὁ Ναζωραῖος vs. 71; Ἰ. ὁ λεγόμενος Χριστός 27:17, 22. Sim. Μαριὰμ ἡ μήτηρ τοῦ Ἰ. Ac 1:14. The art. somet. stands before oblique cases of indecl. proper names, apparently to indicate their case (B-D-F §260, 2; Rob. 760). But here, too, there is no hard and fast rule.—HTeeple, NTS 19, ’73, 302–17 (synopt.).

γ. The art. is customarily found w. the names of countries (B-D-F §261, 4; W-S. § 18, 5 d; Rob. 759f); less freq. w. names of cities (B-D-F §261, 1; 2; Rob. 760; Mlt-Turner 170–72). W. Ἰερουσαλήμ, Ἱεροσόλυμα it is usu. absent (s. Ἱεροσόλυμα); it is only when this name has modifiers that it must have the art. ἡ νῦν Ἰ. Gal 4:25; ἡ ἄνω Ἰ. vs. 26; ἡ καινὴ Ἰ. Rv 3:12. But even in this case it lacks the art. when the modifier follows: Hb 12:22.—Names of rivers have the art. ὁ Ἰορδάνης, ὁ Εὐφράτης, ὁ Τίβερις Hv 1, 1, 2 (B-D-F §261, 8; Rob. 760; Mlt-Turner 172). Likew. names of seas ὁ Ἀδρίας Ac 27:27.

δ. The art. comes before nouns that are accompanied by the gen. of a pronoun (μοῦ, σοῦ, ἡμῶν, ὑμῶν, αὐτοῦ, ἑαυτοῦ, αὐτῶν) Mt 1:21, 25; 5:45; 6:10–12; 12:49; Mk 9:17; Lk 6:27; 10:7; 16:6; Ro 4:19; 6:6 and very oft. (only rarely is it absent: Mt 19:28; Lk 1:72; 2:32; 2 Cor 8:23; Js 5:20 al.).

ε. When accompanied by the possessive pronouns ἐμός, σός, ἡμέτερος, ὑμέτερος the noun always has the art., and the pron. stands mostly betw. art. and noun: Mt 18:20; Mk 8:38; Lk 9:26; Ac 26:5; Ro 3:7 and oft. But only rarely so in John: J 4:42; 5:47; 7:16. He prefers to repeat the article w. the possessive following the noun ἡ κρίσις ἡ ἐμή J 5:30; cp. 7:6; 17:17; 1J 1:3 al.

ζ. Adjectives (or participles), when they modify nouns that have the art., also come either betw. the art. and noun: ἡ ἀγαθὴ μερίς Lk 10:42; τὸ ἅγιον πνεῦμα 12:10; Ac 1:8; ἡ δικαία κρίσις J 7:24 and oft., or after the noun w. the art. repeated τὸ πνεῦμα τὸ ἅγιον Mk 3:29; J 14:26; Ac 1:16; Hb 3:7; 9:8; 10:15. ἡ ζωὴ ἡ αἰώνιος 1J 1:2; 2:25. τὴν πύλην τὴν σιδηρᾶν Ac 12:10. Only rarely does an adj. without the art. stand before a noun that has an art. (s. B-D-F §270, 1; Rob. 777; Mlt-Turner 185f): ἀκατακαλύπτῳ τῇ κεφαλῇ 1 Cor 11:5. εἶπεν μεγάλῃ τῇ φωνῇ Ac 14:10 v.l.; cp. 26:24. κοιναῖς ταῖς χερσίν Mk 7:5 D.—Double modifier τὸ πῦρ τὸ αἰώνιον τὸ ἡτοιμασμένον τῷ διαβόλῳ Mt 25:41. τὸ θυσιαστήριον τὸ χρυσοῦν τὸ ἐνώπιον τοῦ θρόνου Rv 8:3; 9:13. ἡ πόρνη ἡ μεγάλη ἡ καθημένη 17:1.—Mk 5:36 τὸν λόγον λαλούμενον is prob. a wrong rdg. (B has τὸν λαλ., D τοῦτον τὸν λ. without λαλούμενον).—On the art. w. ὅλος, πᾶς, πολύς s. the words in question.

η. As in the case of the poss. pron. (ε) and adj. (ζ), so it is w. other expressions that can modify a noun: ἡ κατʼ ἐκλογὴν πρόθεσις Ro 9:11. ἡ παρʼ ἐμοῦ διαθήκη 11:27. ὁ λόγος ὁ τοῦ σταυροῦ 1 Cor 1:18. ἡ ἐντολὴ ἡ εἰς ζωήν Ro 7:10. ἡ πίστις ὑμῶν ἡ πρὸς τὸν θεόν 1 Th 1:8. ἡ διακονία ἡ εἰς τοὺς ἁγίους 2 Cor 8:4.

θ. The art. precedes the noun when a demonstrative pron. (ὅδε, οὗτος, ἐκεῖνος) belonging with it comes before or after; e.g.: οὗτος ὁ ἄνθρωπος Lk 14:30; J 9:24. οὗτος ὁ λαός Mk 7:6. οὗτος ὁ υἱός μου Lk 15:24. οὗτος ὁ τελώνης 18:11 and oft. ὁ ἄνθρωπος οὗτος Mk 14:71; Lk 2:25; 23:4, 14, 47. ὁ λαὸς οὗτος Mt 15:8. ὁ υἱός σου οὗτος Lk 15:30 and oft.—ἐκείνη ἡ ἡμέρα Mt 7:22; 22:46. ἐκ. ἡ ὥρα 10:19; 18:1; 26:55. ἐκ. ὁ καιρός 11:25; 12:1; 14:1. ἐκ. ὁ πλάνος 27:63 and oft. ἡ οἰκία ἐκείνη Mt 7:25, 27. ἡ ὥρα ἐκ. 8:13; 9:22; ἡ γῆ ἐκ. 9:26, 31; ἡ ἡμέρα ἐκ. 13:1. ὁ ἀγρὸς ἐκ. vs. 44 and oft.—ὁ αὐτός s. αὐτός 3b.

ι. An art. before a nom. noun makes it a vocative (as early as Hom.; s. KBrugman⁴-AThumb, Griech. Gramm. 1913, 431; Schwyzer II 63f; B-D-F §147; Rob. 769. On the LXX Johannessohn, Kasus 14f.—ParJer 1:1 Ἰερεμία ὁ ἐκλεκτός μου; 7:2 χαῖρε Βαρούχι ὁ οἰκονόμος τῆς πίστεως) ναί, ὁ πατήρ Mt 11:26. τὸ κοράσιον, ἔγειρε Mk 5:41. Cp. Mt 7:23; 27:29 v.l.; Lk 8:54; 11:39; 18:11, 13 (Goodsp, Probs. 85–87); J 19:3 and oft.

ⓑ Adjectives become substantives by the addition of the art.

α. ὁ πονηρός Eph 6:16. οἱ σοφοί 1 Cor 1:27. οἱ ἅγιοι, οἱ πλούσιοι, οἱ πολλοί al. Likew. the neut. τὸ κρυπτόν Mt 6:4. τὸ ἅγιον 7:6. τὸ μέσον Mk 3:3. τὸ θνητόν 2 Cor 5:4. τὰ ἀδύνατα Lk 18:27. τὸ ἔλαττον Hb 7:7. Also w. gen. foll. τὰ ἀγαθά σου Lk 16:25. τὸ μωρόν, τὸ ἀσθενὲς τοῦ θεοῦ 1 Cor 1:25; cp. vs. 27f. τὸ γνωστὸν τοῦ θεοῦ Ro 1:19. τὰ ἀόρατα τοῦ θεοῦ vs. 20. τὸ ἀδύνατον τοῦ νόμου 8:3. τὰ κρυπτὰ τῆς αἰσχύνης 2 Cor 4:2.

β. Adj. attributes whose noun is customarily omitted come to have substantive force and therefore receive the art. (B-D-F §241; Rob. 652–54) ἡ περίχωρος Mt 3:5; ἡ ξηρά 23:15 (i.e. γῆ). ἡ ἀριστερά, ἡ δεξιά (sc. χείρ) 6:3. ἡ ἐπιοῦσα (sc. ἡμέρα) Ac 16:11. ἡ ἔρημος (sc. χώρα) Mt 11:7.

γ. The neut. of the adj. w. the art. can take on the mng. of an abstract noun (Thu. 1, 36, 1 τὸ δεδιός=fear; Herodian 1, 6, 9; 1, 11, 5 τὸ σεμνὸν τῆς παρθένου; M. Ant. 1, 1; Just., D. 27, 2 διὰ τὸ σκληροκάρδιον ὑμῶν καὶ ἀχάριστον εἰς αὐτόν) τὸ χρηστὸν τοῦ θεοῦ God’s kindness Ro 2:4. τὸ δυνατόν power 9:22. τὸ σύμφορον benefit 1 Cor 7:35. τὸ γνήσιον genuineness 2 Cor 8:8. τὸ ἐπιεικές Phil 4:5 al.

δ. The art. w. numerals indicates, as in Il. 5, 271f; X. et al. (HKallenberg, RhM 69, 1914, 662ff), that a part of a number already known is being mentioned (Diod S 18, 10, 2 τρεῖς μὲν φυλὰς … τὰς δὲ ἑπτά=‘but the seven others’; Plut., Cleom. 804 [8, 4] οἱ τέσσαρες=‘the other four’; Polyaenus 6, 5 οἱ τρεῖς=‘the remaining three’; Diog. L. 1, 82 Βίας προκεκριμένος τῶν ἑπτά=Bias was preferred before the others of the seven [wise men]. B-D-F §265): οἱ ἐννέα the other nine Lk 17:17. Cp. 15:4; Mt 18:12f. οἱ δέκα the other ten (disciples) 20:24; Mk 10:41; lepers Lk 17:17. οἱ πέντε … ὁ εἷς … ὁ ἄλλος five of them … one … the last one Rv 17:10.

ⓒ The ptc. w. the art. receives

α. the mng. of a subst. ὁ πειράζων the tempter Mt 4:3; 1 Th 3:5. ὁ βαπτίζων Mk 6:14. ὁ σπείρων Mt 13:3; Lk 8:5. ὁ ὀλεθρεύων Hb 11:28. τὸ ὀφειλόμενον Mt 18:30, 34. τὸ αὐλούμενον 1 Cor 14:7. τὸ λαλούμενον vs. 9 (Just., D. 32, 3 τὸ ζητούμενον). τὰ γινόμενα Lk 9:7. τὰ ἐρχόμενα J 16:13. τὰ ἐξουθενημένα 1 Cor 1:28. τὰ ὑπάρχοντα (s. ὑπάρχω 1). In Engl. usage many of these neuters are transl. by a relative clause, as in β below. B-D-F §413; Rob. 1108f.

β. the mng. of a relative clause (Ar. 4, 2 al. οἱ νομίζοντες) ὁ δεχόμενος ὑμᾶς whoever receives you Mt 10:40. τῷ τύπτοντί σε Lk 6:29. ὁ ἐμὲ μισῶν J 15:23. οὐδὲ γὰρ ὄνομά ἐστιν ἕτερον τὸ δεδομένον (ὸ̔ δέδοται) Ac 4:12. τινές εἰσιν οἱ ταράσσοντες ὑμᾶς Gal 1:7. Cp. Lk 7:32; 18:9; J 12:12; Col 2:8; 1 Pt 1:7; 2J 7; Jd 4 al. So esp. after πᾶς: πᾶς ὁ ὀργιζόμενος everyone who becomes angry Mt 5:22. πᾶς ὁ κρίνων Ro 2:1 al. After μακάριος Mt 5:4, 6, 10. After οὐαὶ ὑμῖν Lk 6:25.

ⓓ The inf. w. neut. art. (B-D-F §398ff; Rob. 1062–68) is used in a number of ways.

α. It stands for a noun (B-D-F §399; Rob. 1062–66) τὸ (ἀνίπτοις χερσὶν) φαγεῖν Mt 15:20. τὸ (ἐκ νεκρῶν) ἀναστῆναι Mk 9:10. τὸ ἀγαπᾶν 12:33; cp. Ro 13:8. τὸ ποιῆσαι, τὸ ἐπιτελέσαι 2 Cor 8:11. τὸ καθίσαι Mt 20:23. τὸ θέλειν Ro 7:18; 2 Cor 8:10.—Freq. used w. preps. ἀντὶ τοῦ, διὰ τό, διὰ τοῦ, ἐκ τοῦ, ἐν τῷ, ἕνεκεν τοῦ, ἕως τοῦ, μετὰ τό, πρὸ τοῦ, πρὸς τό etc.; s. the preps. in question (B-D-F §402–4; Rob. 1068–75).

β. The gen. of the inf. w. the art., without a prep., is esp. frequent (B-D-F §400; Mlt. 216–18; Rob. 1066–68; DEvans, ClQ 15, 1921, 26ff). The use of this inf. is esp. common in Lk and Paul, less freq. in Mt and Mk, quite rare in other writers. The gen. stands

א. dependent on words that govern the gen.: ἄξιον 1 Cor 16:4 (s. ἄξιος 1c). ἐξαπορηθῆναι τοῦ ζῆν 2 Cor 1:8. ἔλαχε τοῦ θυμιᾶσαι Lk 1:9 (cp. 1 Km 14:47 v.l. Σαοὺλ ἔλαχεν τοῦ βασιλεύειν).

ב. dependent on a noun (B-D-F §400, 1; Rob. 1066f) ὁ χρόνος τοῦ τεκεῖν Lk 1:57. ἐπλήσθησαν αἱ ἡμέραι τοῦ τεκεῖν αὐτήν 2:6. ἐξουσία τοῦ πατεῖν 10:19. εὐκαιρία τοῦ παραδοῦναι 22:6. ἐλπὶς τοῦ σῴζεσθαι Ac 27:20; τοῦ μετέχειν 1 Cor 9:10. ἐπιποθία τοῦ ἐλθεῖν Ro 15:23. χρείαν ἔχειν τοῦ διδάσκειν Hb 5:12. καιρὸς τοῦ ἄρξασθαι 1 Pt 4:17. τ. ἐνέργειαν τοῦ δύνασθαι the power that enables him Phil 3:21. ἡ προθυμία τοῦ θέλειν zeal in desiring 2 Cor 8:11.

ג. Somet. the connection w. the noun is very loose, and the transition to the consecutive sense (=result) is unmistakable (B-D-F §400, 2; Rob. 1066f): ἐπλήσθησαν ἡμέραι ὀκτὼ τοῦ περιτεμεῖν αὐτόν Lk 2:21. ὀφειλέται … τοῦ κατὰ σάρκα ζῆν Ro 8:12. εἰς ἀκαθαρσίαν τοῦ ἀτιμάζεσθαι 1:24. ὀφθαλμοὺς τοῦ μὴ βλέπειν 11:8. τὴν ἔκβασιν τοῦ δύνασθαι ὑπενεγκεῖν 1 Cor 10:13.

ד. Verbs of hindering, ceasing take the inf. w. τοῦ μή (s. Schwyzer II 372 for earlier Gk; PGen 16, 23 [207 A.D.] κωλύοντες τοῦ μὴ σπείρειν; LXX; ParJer 2:5 φύλαξαι τοῦ μὴ σχίσαι τὰ ἱμάτιά σου): καταπαύειν Ac 14:18. κατέχειν Lk 4:42. κρατεῖσθαι 24:16. κωλύειν Ac 10:47. παύειν 1 Pt 3:10 (Ps 33:14). ὑποστέλλεσθαι Ac 20:20, 27. Without μή: ἐγκόπτεσθαι τοῦ ἐλθεῖν Ro 15:22.

ה. The gen. of the inf. comes after verbs of deciding, exhorting, commanding, etc. (1 Ch 19:19; ParJer 7:37 διδάσκων αὐτοὺ τοῦ ἀπέχεσθαι) ἐγένετο γνώμης Ac 20:3. ἐντέλλεσθαι Lk 4:10 (Ps 90:11). ἐπιστέλλειν Ac 15:20. κατανεύειν Lk 5:7. κρίνειν Ac 27:1. παρακαλεῖν 21:12. προσεύχεσθαι Js 5:17. τὸ πρόσωπον στηρίζειν Lk 9:51. συντίθεσθαι Ac 23:20.

ו. The inf. w. τοῦ and τοῦ μή plainly has final (=purpose) sense (ParJer 5:2 ἐκάθισεν … τοῦ ἀναπαῆναι ὀλίγον; Soph., Lex. I 45f; B-D-F §400, 5 w. exx. fr. non-bibl. lit. and pap; Rob. 1067): ἐξῆλθεν ὁ σπείρων τοῦ σπείρειν a sower went out to sow Mt 13:3. ζητεῖν τοῦ ἀπολέσαι = ἵνα ἀπολέσῃ 2:13. τοῦ δοῦναι γνῶσιν Lk 1:77. τοῦ κατευθῦναι τοὺς πόδας vs. 79. τοῦ σινιάσαι 22:31. τοῦ μηκέτι δουλεύειν Ro 6:6. τοῦ ποιῆσαι αὐτά Gal 3:10. τοῦ γνῶναι αὐτόν Phil 3:10. Cp. Mt 3:13; 11:1; 24:45; Lk 2:24, 27; 8:5; 24:29; Ac 3:2; 20:30; 26:18; Hb 10:7 (Ps 39:9); 11:5; GJs 2:3f; 24:1.—The apparently solecistic τοῦ πολεμῆσαι Ro 12:7 bears a Semitic tinge, cp. Hos 9:13 et al. (Mussies 96).—The combination can also express

ז. consecutive mng. (result): οὐδὲ μετεμελήθητε τοῦ πιστεῦσαι αὐτῷ you did not change your minds and believe him Mt 21:32. τοῦ μὴ εἶναι αὐτὴν μοιχαλίδα Ro 7:3. τοῦ ποιεῖν τὰ βρέφη ἔκθετα Ac 7:19. Cp. 3:12; 10:25.

ⓔ The art. is used w. prepositional expressions (Artem. 4, 33 p. 224, 7 ὁ ἐν Περγάμῳ; 4, 36 ὁ ἐν Μαγνησίᾳ; 4 [6] Esdr [POxy 1010 recto, 8–12] οἱ ἐν τοῖς πεδίοις … οἱ ἐν τοῖς ὄρεσι καὶ μετεώροις; Tat. 31, 2 οἱ μὲν περὶ Κράτητα … οἱ δὲ περὶ Ἐρατοσθένη) τῆς ἐκκλησίας τῆς ἐν Κεγχρεαῖς Ro 16:1. ταῖς ἐκκλησίαις ταῖς ἐν τῇ Ἀσίᾳ Rv 1:4. τῷ ἀγγέλῳ τῆς ἐν (w. place name) ἐκκλησίας 2:1, 8, 12, 18; 3:1, 7, 14 (on these pass. RBorger, TRu 52, ’87, 42–45). τοῖς ἐν τῇ οἰκίᾳ to those in the house Mt 5:15. πάτερ ἡμῶν ὁ ἐν τ. οὐρανοῖς 6:9. οἱ ἀπὸ τῆς Ἰταλίας Hb 13:24. οἱ ἐν Χριστῷ Ἰησοῦ Ro 8:1. οἱ ἐξ ἐριθείας 2:8. οἱ ἐκ νόμου 4:14; cp. vs. 16. οἱ ἐκ τῆς Καίσαρος οἰκίας Phil 4:22. οἱ ἐξ εὐωνύμων Mt 25:41. τὸ θυσιαστήριον … τὸ ἐνώπιον τοῦ θρόνου Rv 8:3; cp. 9:13. On 1:4 s. ref in B-D-F §136, 1 to restoration by Nestle. οἱ παρʼ αὐτοῦ Mk 3:21. οἱ μετʼ αὐτοῦ Mt 12:3. οἱ περὶ αὐτόν Mk 4:10; Lk 22:49 al.—Neut. τὰ ἀπὸ τοῦ πλοίου pieces of wreckage fr. the ship Ac 27:44 (difft. FZorell, BZ 9, 1911, 159f). τὰ περί τινος Lk 24:19, 27; Ac 24:10; Phil 1:27 (Tat. 32, 2 τὰ περὶ θεοῦ). τὰ περί τινα 2:23. τὰ κατʼ ἐμέ my circumstances Eph 6:21; Phil 1:12; Col 4:7. τὰ κατὰ τὸν νόμον what (was to be done) according to the law Lk 2:39. τὸ ἐξ ὑμῶν Ro 12:18. τὰ πρὸς τὸν θεόν 15:17; Hb 2:17; 5:1 (X., Resp. Lac. 13, 11 ἱερεῖ τὰ πρὸς τοὺς θεούς, στρατηγῷ δὲ τὰ πρὸς τοὺς ἀνθρώπους). τὰ παρʼ αὐτῶν Lk 10:7. τὸ ἐν ἐμοί the (child) in me GJs 12:2 al.

ⓕ w. an adv. or adverbial expr. (1 Macc 8:3) τὸ ἔμπροσθεν Lk 19:4. τὸ ἔξωθεν Mt 23:25. τὸ πέραν Mt 8:18, 28. τὰ ἄνω J 8:23; Col 3:1f. τὰ κάτω J 8:23. τὰ ὀπίσω Mk 13:16. τὰ ὧδε matters here Col 4:9. ὁ πλησίον the neighbor Mt 5:43. οἱ καθεξῆς Ac 3:24. τὸ κατὰ σάρκα Ro 9:5. τὸ ἐκ μέρους 1 Cor 13:10.—Esp. w. indications of time τό, τὰ νῦν s. νῦν 2b. τὸ πάλιν 2 Cor 13:2. τὸ λοιπόν 1 Cor 7:29; Phil 3:1. τὸ πρῶτον J 10:40; 12:16; 19:39. τὸ πρότερον 6:62; Gal 4:13. τὸ καθʼ ἡμέραν daily Lk 11:3.—τὸ πλεῖστον at the most 1 Cor 14:27.

ⓖ The art. w. the gen. foll. denotes a relation of kinship, ownership, or dependence: Ἰάκωβος ὁ τοῦ Ζεβεδαίου Mt 10:2 (Thu. 4, 104 Θουκυδίδης ὁ Ὀλόρου [sc. υἱός]; Plut., Timol. 3, 2; Appian, Syr. 26 §123 Σέλευκος ὁ Ἀντιόχου; Jos., Bell. 5, 5; 11). Μαρία ἡ Ἰακώβου Lk 24:10. ἡ τοῦ Οὐρίου the wife of Uriah Mt 1:6. οἱ Χλόης Chloë’s people 1 Cor 1:11. οἱ Ἀριστοβούλου, οἱ Ναρκίσσου Ro 16:10f. οἱ αὐτοῦ Ac 16:33. οἱ τοῦ Χριστοῦ 1 Cor 15:23; Gal 5:24. Καισάρεια ἡ Φιλίππου Caesarea Philippi i.e. the city of Philip Mk 8:27.—τό, τά τινος someone’s things, affairs, circumstances (Thu. 4, 83 τὰ τοῦ Ἀρριβαίου; Parthenius 1, 6; Appian, Syr. 16 §67 τὰ Ῥωμαίων) τὰ τοῦ θεοῦ, τῶν ἀνθρώπων Mt 16:23; 22:21; Mk 8:33; cp. 1 Cor 2:11. τὰ τῆς σαρκός, τοῦ πνεύματος Ro 8:5; cp. 14:19; 1 Cor 7:33f; 13:11. τὰ ὑμῶν 2 Cor 12:14. τὰ τῆς ἀσθενείας μου 11:30. τὰ τοῦ νόμου what the law requires Ro 2:14. τὸ τῆς συκῆς what has been done to the fig tree Mt 21:21; cp. 8:33. τὰ ἑαυτῆς its own advantage 1 Cor 13:5; cp. Phil 2:4, 21. τὸ τῆς παροιμίας what the proverb says 2 Pt 2:22 (Pla., Theaet. 183e τὸ τοῦ Ὁμήρου; Menand., Dyscolus 633 τὸ τοῦ λόγου). ἐν τοῖς τοῦ πατρός μου in my Father’s house (so Field, Notes 50–56; Goodsp. Probs. 81–83; difft., ‘interests’, PTemple, CBQ 1, ’39, 342–52.—In contrast to the other synoptists, Luke does not elsewhere show Jesus ‘at home’.) Lk 2:49 (Lysias 12, 12 εἰς τὰ τοῦ ἀδελφοῦ; Theocr. 2, 76 τὰ Λύκωνος; pap in Mayser II [1926] p. 8; POxy 523, 3 [II A.D.] an invitation to a dinner ἐν τοῖς Κλαυδίου Σαραπίωνος; PTebt 316 II, 23 [99 A.D.] ἐν τοῖς Ποτάμωνος; Esth 7:9; Job 18:19; Jos., Ant. 16, 302. Of the temple of a god Jos., C. Ap. 1, 118 ἐν τοῖς τοῦ Διός). Mt 20:15 is classified here by WHatch, ATR 26, ’44, 250–53; s. also ἐμός b.

ⓗ The neut. of the art. stands

α. before whole sentences or clauses (Epict. 4, 1, 45 τὸ Καίσαρος μὴ εἶναι φίλον; Prov. Aesopi 100 P. τὸ Οὐκ οἶδα; Jos., Ant. 10, 205; Just., D. 33, 2 τὸ γὰρ … [Ps 109:4]) τὸ Οὐ φονεύσεις, οὐ μοιχεύσεις κτλ. (quot. fr. the Decalogue) Mt 19:18; Ro 13:9. τὸ Καὶ μετὰ ἀνόμων ἐλογίσθη (quot. fr. Is 53:12) Lk 22:37. Cp. Gal 5:14. τὸ Εἰ δύνῃ as far as your words ‘If you can’ are concerned Mk 9:23. Likew. before indirect questions (Vett. Val. 291, 14 τὸ πῶς τέτακται; Ael. Aristid. 45, 15 K. τὸ ὅστις ἐστίν; ParJer 6:15 τὸ πῶς ἀποστείλης; GrBar 8:6 τὸ πῶς ἐταπεινώθη; Jos., Ant. 20, 28 ἐπὶ πείρᾳ τοῦ τί φρονοῖεν; Pel.-Leg. p. 20, 32 τὸ τί γένηται; Mel., Fgm. 8, 2 [Goodsp. p. 311] τὸ δὲ πῶς λούονται) τὸ τί ἂν θέλοι καλεῖσθαι αὐτό Lk 1:62. τὸ τίς ἂν εἴη μείζων αὐτῶν 9:46. τὸ πῶς δεῖ ὑμᾶς περιπατεῖν 1 Th 4:1. Cp. Lk 19:48; 22:2, 4, 23f; Ac 4:21; 22:30; Ro 8:26; Hs 8, 1, 4.

β. before single words which are taken fr. what precedes and hence are quoted, as it were (Epict. 1, 29, 16 τὸ Σωκράτης; 3, 23, 24; Hierocles 13 p. 448 ἐν τῷ μηδείς) τὸ ‘ἀνέβη’ Eph 4:9. τὸ ‘ἔτι ἅπαξ’ Hb 12:27. τὸ ‘Ἁγάρ’ Gal 4:25.

ⓘ Other notable uses of the art. are

α. the elliptic use, which leaves a part of a sentence accompanied by the art. to be completed fr. the context: ὁ τὰ δύο the man with the two (talents), i.e. ὁ τὰ δύο τάλαντα λαβών Mt 25:17; cp. vs. 22. τῷ τὸν φόρον Ro 13:7. ὁ τὸ πολύ, ὀλίγον the man who had much, little 2 Cor 8:15 after Ex 16:18 (cp. Lucian, Bis Accus. 9 ὁ τὴν σύριγγα [sc. ἔχων]; Arrian, Anab. 7, 8, 3 τὴν ἐπὶ θανάτῳ [sc. ὁδόν]).

β. Σαῦλος, ὁ καὶ Παῦλος Ac 13:9; s. καί 2h.

γ. the fem. art. is found in a quite singular usage ἡ οὐαί (ἡ θλῖψις or ἡ πληγή) Rv 9:12; 11:14. Sim. ὁ Ἀμήν 3:14 (here the masc. art. is evidently chosen because of the alternate name for Jesus).

ⓙ One art. can refer to several nouns connected by καί

α. when various words, sing. or pl., are brought close together by a common art.: τοὺς ἀρχιερεῖς καὶ γραμματεῖς Mt 2:4; cp. 16:21; Mk 15:1. ἐν τοῖς προφήταις κ. ψαλμοῖς Lk 24:44. τῇ Ἰουδαίᾳ καὶ Σαμαρείᾳ Ac 1:8; cp. 8:1; Lk 5:17 al.—Even nouns of different gender can be united in this way (Aristoph., Eccl. 750; Ps.-Pla., Axioch. 12 p. 37a οἱ δύο θεοί, of Apollo and Artemis; Ps.-Demetr., Eloc. c. 292; PTebt 14, 10 [114 B.C.]; En 18:14; EpArist 109) κατὰ τὰ ἐντάλματα καὶ διδασκαλίας Col 2:22. Cp. Lk 1:6. εἰς τὰς ὁδοὺς καὶ φραγμούς 14:23.

β. when one and the same person has more than one attribute applied to him: πρὸς τὸν πατέρα μου καὶ πατέρα ὑμῶν J 20:17. ὁ θεὸς καὶ πατὴρ τοῦ κυρίου Ἰ. Ro 15:6; 2 Cor 1:3; 11:31; Eph 1:3; 1 Pt 1:3. ὁ θεὸς καὶ πατὴρ (ἡμῶν) Eph 5:20; Phil 4:20; 1 Th 1:3; 3:11, 13. Of Christ: τοῦ κυρίου ἡμῶν καὶ σωτῆρος 2 Pt 1:11; cp. 2:20; 3:18. τοῦ μεγάλου θεοῦ καὶ σωτῆρος ἡμῶν Tit 2:13 (PGrenf II, 15 I, 6 [139 B.C.] of the deified King Ptolemy τοῦ μεγάλου θεοῦ εὐεργέτου καὶ σωτῆρος [ἐπιφανοῦς] εὐχαρίστου).

γ. On the other hand, the art. is repeated when two different persons are named: ὁ φυτεύων καὶ ὁ ποτίζων 1 Cor 3:8. ὁ βασιλεὺς καὶ ὁ ἡγεμών Ac 26:30.

ⓚ In a fixed expression, when a noun in the gen. is dependent on another noun, the art. customarily appears twice or not at all: τὸ πνεῦμα τοῦ θεοῦ 1 Cor 3:16; πνεῦμα θεοῦ Ro 8:9. ὁ λόγος τοῦ θεοῦ 2 Cor 2:17; λόγος θεοῦ 1 Th 2:13. ἡ ἡμέρα τοῦ κυρίου 2 Th 2:2; ἡμ. κ. 1 Th 5:2. ὁ υἱὸς τοῦ ἀνθρώπου Mt 8:20; υἱ. ἀ. Hb 2:6. ἡ ἀνάστασις τῶν νεκρῶν Mt 22:31; ἀ. ν. Ac 23:6. ἡ κοιλία τῆς μητρός J 3:4; κ. μ. Mt 19:12.—APerry, JBL 68, ’49, 329–34; MBlack, An Aramaic Approach³, ’67, 93–95.—DELG. M-M.

 

руководитель подготовки эстафеты
Представитель ОКОИ, занимающийся организацией эстафеты в определенном географическом регионе, который может включать несколько городов и стран. Каждый руководитель подготовки эстафеты отвечает за: все мероприятия на местах, включая определение маршрута и составление подробных планов продвижения Олимпийского огня; помощь в планировании праздничных мероприятий, а также работу с факелоносцами и маркетинговыми партнерами эстафеты. Руководитель подготовки эстафеты устанавливает контакты с местными общественными деятелями, чтобы заручиться их помощью и поддержкой в привлечении логистических средств, необходимых для прохождения эстафеты по их территории.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]

EN

advance manager
Individual who represents the OCOG by organizing the OTR through a particular geographic region, which may include multiple cities and countries. Each Advance Manager is responsible for all field operations, including route planning and mapping exact details and movement of the Olympic flame, helping to plan celebrations, and working with torchbearers and OTR marketing partner(s). The Advance Manager initiates contact with various community leaders to enlist their assistance and support in activating all logistical requirements of the flame passage through their community.
[Департамент лингвистических услуг Оргкомитета «Сочи 2014». Глоссарий терминов]

Тематики

• спорт (церемонии и культурные программы)

EN

• advance manager