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21 Lisbon
stedsnavn \/ˈlɪzbən\/Lisboa -
22 to put in
1 (instal, fit) instalar, poner2 (include, insert) poner, incluir; (say) agregar3 (enter, submit - claim, request, bid) presentar4 (spend time working) trabajar, hacer1 (ship) hacer escala -
23 sede
Del verbo sedar: ( conjugate sedar) \ \
sedé es: \ \1ª persona singular (yo) pretérito indicativo
sede es: \ \1ª persona singular (yo) presente subjuntivo3ª persona singular (él/ella/usted) presente subjuntivo3ª persona singular (él/ella/usted) imperativoMultiple Entries: sedar sede
sede sustantivo femeninob) (Relig) see( de compañía) headquarters ( sing or pl), head office
sede sustantivo femenino
1 (de una organización, negocio) headquarters, head office
2 (de un acontecimiento) venue: Lisboa es la sede de la exposición universal, Lisbon is the venue for the World Fair
3 (de gobierno) seat
4 Rel sede episcopal, see
la Santa Sede, the Holy See ' sede' also found in these entries: Spanish: jefatura - reclamar - Santa Sede - secretaría - arzobispal - embajada - sala English: base - clubhouse - headquarters - HQ - office - seat - see - host - venue -
24 Lisbon
s GEOGR Lisboa -
25 Lisbon cut
s talla LisboaDef. del Termcat: Variant de la talla Peruzzi, amb 40 facetes triangulars i taula octagonal a la corona, i 8 facetes quadrangulars, 24 de triangulars i culet a la culata. -
26 old mine cut
s talla mina antigaDef. del Termcat: Talla brillant de secció quadrangular i cares arrodonides, amb 8 facetes quadrangulars, 24 de triangulars i taula octagonal a la corona, i 8 facetes quadrangulars, 16 de triangulars i culet octagonal a la culata.Nota: És molt semblant a les talles Brasil i Lisboa i ha estat força utilitzada per al diamant. -
27 Huambo
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28 Lisbon
s.Lisboa. -
29 Lisbon, Portugal
s.Lisboa, Portugal. -
30 Cinema
Portuguese cinema had its debut in June 1896 at the Royal Coliseum, Lisbon, only six months after the pioneering French cinema-makers, the brothers Lumiere, introduced the earliest motion pictures to Paris audiences. Cinema pioneers in Portugal included photographer Manuel Maria da Costa Veiga and an early enthusiast, Aurelio da Paz dos Reis. The first movie theater opened in Lisbon in 1904, and most popular were early silent shorts, including documentaries and scenes of King Carlos I swimming at Cascais beach. Beginning with the Invicta Film company in 1912 and its efforts to produce films, Portuguese cinema-makers sought technical assistance in Paris. In 1918, French film technicians from Pathé Studios of Paris came to Portugal to produce cinema. The Portuguese writer of children's books, Virginia de Castro e Almeida, hired French film and legal personnel in the 1920s under the banner of "Fortuna Film" and produced several silent films based on her compositions.In the 1930s, Portuguese cinema underwent an important advance with the work of Portuguese director-producers, including AntônioLopes Ribeiro, Manoel de Oliveira, Leitao de Barros, and Artur Duarte. They were strongly influenced by contemporary French, German, and Russian cinema, and they recruited their cinema actors from the Portuguese Theater, especially from the popular Theater of Review ( teatro de revista) of Lisbon. They included comedy radio and review stars such as Vasco Santana, Antônio Silva, Maria Matos, and Ribeirinho. As the Estado Novo regime appreciated the important potential role of film as a mode of propaganda, greater government controls and regulation followed. The first Portuguese sound film, A Severa (1928), based on a Julio Dantas book, was directed by Leitão de Barros.The next period of Portuguese cinema, the 1930s, 1940s, and much of the 1950s, has been labeled, Comédia a portuguesa, or Portuguese Comedy, as it was dominated by comedic actors from Lisbon's Theatre of Review and by such classic comedies as 1933's A Cancáo de Lisboa and similar genre such as O Pai Tirano, O Pátio das Cantigas, and A Costa do Castelo. The Portuguese film industry was extremely small and financially constrained and, until after 1970, only several films were made each year. A new era followed, the so-called "New Cinema," or Novo Cinema (ca. 1963-74), when the dictatorship collapsed. Directors of this era, influenced by France's New Wave cinema movement, were led by Fernando Lopes, Paulo Rocha, and others.After the 1974-75 Revolution, filmmakers, encouraged by new political and social freedoms, explored new themes: realism, legend, politics, and ethnography and, in the 1980s, other themes, including docufiction. Even after political liberty arrived, leaders of the cinema industry confronted familiar challenges of filmmakers everywhere: finding funds for production and audiences to purchase tickets. As the new Portugal gained more prosperity, garnered more capital, and took advantage of membership in the burgeoning European Union, Portuguese cinema benefited. Some American producers, directors, and actors, such as John Malkovich, grew enamored of residence and work in Portugal. Malkovich starred in Manoel de Oliveira's film, O Convento (The Convent), shot in Portugal, and this film gained international acclaim, if not universal critical approval. While most films viewed in the country continued to be foreign imports, especially from France, the United States, and Great Britain, recent domestic film production is larger than ever before in Portugal's cinema history: in 2005, 13 Portuguese feature films were released. One of them was coproduced with Spain, Midsummer Dream, an animated feature. That year's most acclaimed film was O Crime de Padre Amaro, based on the Eça de Queirós' novel, a film that earned a record box office return. In 2006, some 22 feature films were released. With more films made in Portugal than ever before, Portugal's cinema had entered a new era. -
31 Godinho, Vitorino Magalhães
(1918-)Historian, academic, political figure. Internationally, Portugal's most celebrated historian of the 20th century. Born into a family with strong republican and antidictatorial tendencies, Godinho chose an academic career following his graduation (1940) in history and philosophy from the Faculty of Letters, University of Lisbon. He taught history at the same institution until 1944, when his academic career was cut short by the Estado Novo's orders. He resumed his academic career in France, where he taught history and received his doctorate in history at the Sorbonne (1959). He returned briefly to Portugal but, during the academic/political crisis of 1962, he was fired from his faculty position at the Instituto Superior de Estudos Ultramarinos in Lisbon.In the 1960s and early 1970s, Godinho's scholarly publications on the social and economic history of the Portuguese overseas empire (1400-1700) first made a lasting impact both in Portuguese historiography and world historiography regarding the Age of Discoveries. His notion of a world system or economy, with ample quantitative data on prices, money, and trade in the style and spirit of the French Annales School of History, had an important influence on social scientists outside Portugal, including on American scholar Immanuel Wallerstein and his world system studies. Godinho's work emphasized social and economic history before 1750, and his most notable works included Prix et monnaies au Portugal (1955), A Economia dos Descobrimentos Henriquinos (1962), and, in three volumes, Os Descobrimentos e a Economia Mundial (1963-71).As a staunch opponent of the Estado Novo who had been dismissed yet again from 1962 to 1971, Godinho concentrated on his research and publications, as well as continuing activity in oppositionist parties, rallies, and elections. Disillusioned by the false "Spring" of freedom under Prime Minister Marcello Caetano (1968-74), he returned to France to teach. Following the Revolution of 25 April 1974, Godinho returned to newly democratic Portugal. During several provisional governments (1974-75), he was appointed minister of education and initiated reforms. The confusing political maelstrom of revolutionary Portugal, however, discouraged his continuation in public office. He returned to university teaching and scholarship, and then helped establish a new institution of higher learning, the Universidade Nova de Lisboa (New University of Lisbon), where he retired, loaded with honors and acclaim, at age 70 in 1988.Historical dictionary of Portugal > Godinho, Vitorino Magalhães
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32 Mariza
(Marisa dos Reis Nunes)(1973-)Internationally celebrated, popular singer of the "new fado." Born in Mozambique on 16 December 1973, at the time a colony of Portugal, Marisa dos Reis Nunes is the daughter of a Portuguese father and a mother born in Mozambique. Her maternal grandmother is African. "Mariza," the stage name selected after she became a noted performer, moved to Portugal at age three and lived in some of Lisbon's older quarters, including Alfama and Mouraria, where there is a tradition of fado singing. After she learned to sing, her favorite early styles were gospel, soul, and jazz, before she became an established singer of fado. Her first album, Fado em Mim (2001) was very popular in Portugal, and soon she became an international singing celebrity whose distinctive voice and attractive if exotic looks helped win over audiences.Mariza's early singing style was reminiscent of the singing of Portugal's great fado singer of an earlier generation, Amália Rodrigues. Especially noteworthy is her hairstyle, which resembles the "marcelling" style of women in the 1920s and 1930s. By 2008, she had been recognized as a two-time Latin Grammy nominee for her distinctive new style and voice. A fervent globetrotter in her concert touring, she has been feted in many countries in all the continents of the world, and she has performed in Carnegie Hall, New York, Hollywood Bowl, London's Royal Albert Hall, Sydney Opera House, Toronto's Massey Hall, and many other important venues. Her album Concerto em Lisboa received a Latin Grammy nomination for Best Folk Album in 2007, and her most recent performances reflect influences on her fado of jazz, Flamenco, and Latin and African sounds. -
33 Oliveira Marques, Antônio Henriques de
(1933-2007)Historian, scholar, and editor. Since 1970, Portugal's most widely published, prolific historian, he was born in Estoril in 1933. Trained as a medieval historian, Oliveira Marques mastered other fields of history as well, including the history of the First Republic (1910-26), the Estado Novo (1926-74), and the general history of Portugal. In the late 1950s and early 1960s, he received his advanced degrees from the Faculty of Letters, University of Lisbon. His doctoral dissertation treated Portugal's trade with the Hanseatic League, a topic of medieval economic history. Oliveira Marques taught as a junior faculty member at his alma mater from 1957 to 1964, but left after a falling out with senior faculty and political authorities. For some years he taught at several institutions in the United States, including the Universities of Florida and Minnesota.Returning to Portugal during the last phase of the Marcello Caetano government, Oliveira Marques taught at the University of Lisbon. In November 1974, he was appointed director of the National Library of Lisbon, a prestigious but trying cultural post he held for some years. In the 1980s, he changed universities and joined the Faculty of Germanic Studies, Universidade Nova de Lisboa. Of his vast bibliography, two of his historical works were published in English in the United States: Daily Life in Portugal in the Middle Ages (1971) and History of Portugal (2 vols., 1972, 1976, and later editions). In terms of public acclaim and book sales in Portugal, his most consistently popular work in print continues to be his survey, História de Portugal, in several volumes, published in many editions since the early 1970s.Historical dictionary of Portugal > Oliveira Marques, Antônio Henriques de
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34 Pousadas
Government-sponsored inns similar to Spain's paradores. In 1942, Portugal initiated a system of state-run inns, pousadas, housed in restored, historic castles, convents, manor houses, palaces, and monasteries. By 2008, this system included more than forty pousadas or inns in every region of the country and in the Azores Islands. Recently, the government-owned system came under the management of Pestana Hotels, a private group. Such tourist habitations with reasonable nightly rates have been in high demand and feature antique, period furnishings and restaurants with Portuguese cuisine. Most are located in or near towns or cities with other historic places and sites. A source of information for travelers is the official website, at www.pousadas.pt.Agueda Santo AntonioAlcácer Do Sal Dom Afonso IIAlijo Baráo de ForresterAlmeida Senhoras Das NevesAlvito Castelo De AlvitoAmares Sta. Maria Do BouroArraiolos N. Sra. Da AssuncaoBatalha Mestre De DominguesBeja São FranciscoBragança São BartolomeuCaramulo São JerónimoCondeixa-a-Nova Santa CristinaCrato Flor Da Rosa Elvas Santa Luzia Estremoz Rainha Santa Isabel Évora LoiosGeres/Canicada São Bento Guimarães N. Sa. Da Oliveira Guimarães Santa Marinha Marao São Goncalo Manteigas São Lourenco Marvao Santa Maria Miranda Do Douro Santa Catarina Monsanto Monsanto Murtosa/Aveiro Ria Obidos Castelo Palmela PalmelaPovoa Das Quartas Santa Barbara Queluz/Lisboa Dona Maria I Sagres InfanteSta. Clara-A-Velha Santa ClaraSantiago Do Cacem Quinta Da OrtigaSantiago Do Cacem São TiagoS. Pedro/Castelo De Bode São PedroSão Bras De Alportel São BrasSerpa São GensSetubal São FilipeSousel São MiguelTorrao Vale Do GaioValenca Do Minho São TeotónioViana Do Castelo Monte Santa LuziaV. Nova De Cerveira Dom DinisVila Vicosa Dom João IVAngra do Heroísmo (Terceira Island) Forte S. Sebastião Horta (Faial Island) Forte S. CruzThe history of displaying nativity scenes, portraying the birth of Christ in a manger, goes back in Catholic tradition at least to Christmas 1223, when Saint Francis of Assisi arranged a nativity scene with live figures in a town in Italy, but scholars confirm that this Christmas tradition in the arts is much older than the 13th century. Figurines depicting the Holy Family in nativity scenes were made of various materials, including wood, precious metals, and ceramics. In Portugal, an artistic tradition of making and displaying presepios in or near churches, chapels, and cathedrals reached its zenith in the arts in the 18th century during the long reign of King João V (1706-50). In the Baroque era, an artistic tradition that arrived somewhat late in Portugal, the most celebrated and talented of the nativity scene artists was the 18th-century Coimbra sculptor, Joaquim Machado de Castro (1751/2-1822), but there were other great artists in this field as well. The 18th century's most celebrated sculptor, Machado de Castro created the famous equestrian bronze statue of King José I, in Commerce Square, Lisbon. During the time of Machado de Castro's time, the ceramic nativity scene comprised of large figures and elaborate scenery became a cult, and many nativity scenes were made.Today, many of these historic artistic creations, with a strong basis in Christian tradition, can be viewed in various Portuguese museums, palaces, and churches. Some of the most famous larger nativity scenes, including those lovingly created by Machado de Castro of Coimbra, are found on display at Christmas and other times in the Estrela Basilica, the Palace of Necessidades, the Palace of Queluz, the Church of Madre de Deus, the Cathedral in Lisbon, and in other religious or museum buildings in Lisbon, Oporto, and other towns in Portugal. The ceramic nativity scene is not only sacred art but also evolved as folk and now tourist art, as Portuguese nativity scenes, with figures smaller than in the Baroque treasures on display of Machado de Castro, are for sale in a number of stores, as well as in some churches in Lisbon, Oporto, Estremoz, Évora, and other cities. The styles of the nativity scenes vary by region, by town, and by artist, and many include not only sacred figures of the story of the birth of Christ but also traditional, rural, folk figurines depicting Portuguese rural occupations from the 18th and 19th century, as well as figures from stories from the Bible. The ceramic materials of which these figures of varying sizes are made include variations of terracotta. -
35 Santana, Vasco
(1898-1958)Comic stage, film, and radio actor of the golden age of Lisbon musical review theater. Although he studied architecture in Lisbon, Santana quickly became a celebrated, popular actor in light theater, especially in Lisbon reviews, comedies, and operettas. In radio, he became known for his zany depiction of a 1940s cartoon character. For decades, Santana was the most popular comic figure in the Theater of Review in Lisbon. With his signature squat corpulence, his quick comic moves, and rough voice, charismatic Santana was the most beloved of comic actors of his day. Besides his many contributions to stage and radio, he had an important career as a comic actor in film. Most of his more famous roles were in classic 1930s and 1940s films, including one of the earliest talkies in Portugal, A Canção de Lisboa (Song of Lisbon, 1933).Long revered by his public but also by colleagues, Santana's fame underwent a revival after 1974. One sign of this revival was the unexpected popularity of a colleague's memoirs, a best-selling book by the actress, Beatriz Costa, known for her Clara Bow look, in the late 1970s. The clever title was both sentimental and biting: When the Vascos Were Santanas and More ( Quando Os Vascos Eram San-tanas E Não Só). The "Vasco" of recent, revolutionary politics was the soldier-politician, Vasco Gonçalves, in contrast to the beloved "Vasco Santana" of an earlier golden age of comedy. New generations of performers continue to be inspired by the late actor's distinctive legacy of light-hearted mirth. -
36 Saramago, José
(1922-)Recipient of the 1998 Nobel Prize in Literature, Saramago, a noted novelist, poet, essayist, and travel writer, is the first writer in the Portuguese language, of whatever nationality, to be so honored. Saramago began his career as a journalist, editor, and translator, and then became a full-time novelist. Born in the village of Azinhaga, Ribatejo province, Saramago worked as a journalist and directed the literary supplement of the Diário de Lisboa, a daily paper in the capital, as well as being an editor with the Diário de Notícias. Among his other writings from earlier decades is his work as a literary critic for the liberal, progressive journal Seara Nova. His reputation as a writer rests chiefly on the value of his novels, most of them translated now into more than 20 foreign languages and published widely outside Portugal, but he is also a versatile poet, playwright, travel writer, and political commentator. His membership in the Portuguese Communist Party (PCP) and later his moving from residence in Portugal to the Canary Islands with his Spanish wife elicited ongoing discussions. Among his more famous novels that have been rendered into the English language and widely praised are Baltazar and Blimunda (1987), The Year of the Death of Ricardo Reis (1991), and The History of the Siege of Lisbon (1996). -
37 Telmo, José Ângelo Cottinelli
(1897-1948)Architect, artist, musician, photographer, illustrator, and filmmaker. Trained at the Escola de Belas-Artes, Lisbon, he produced the classic film A Canção de Lisboa (Song of Lisbon). Although best known for his extraordinary architectural creations, he was also a musician, dancer, and photographer, and it was Cottinelli Telmo who introduced the newspaper cartoon ( banda desenhada) to Portugal. A visionary creator and organizer, he pioneered the notion of the "garden-city" in Lisbon. While he was employed by the Portuguese railroads, he designed train stations and other structures, including several in Lisbon, Campolide, and Caçém.His most memorable contribution was work at the massive 1940 Exposition of the Portuguese World at Belém, a kind of world's fair that opened in the weeks before the fall of France in June 1940. The centerpiece of this exposition, in what is now the Praça do Império and fronting on the Monastery of Jerônimos, was the Pavilion of the Portuguese in the World. Named chief architect by Minister of Public Works Duarte Pacheco, Cottinelli Telmo gathered around him a stellar array of the country's finest architects and artists of their generation. Other major projects were buildings in Belém, the Sanctuary at Fátima, the Catholic shrine, and Coimbra's University City.Historical dictionary of Portugal > Telmo, José Ângelo Cottinelli
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38 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today. -
39 Paper Transistor
[`peɪpə træn`zɪstə]пп бумажный транзистор.▫ В Б.т. транзисторы размещены на обеих сторонах листа и бумага выполняет одновременно функции подложки и изолятора, чего раньше добиться не удавалось. Полученные транзисторы относятся к полевым, т. е. к тому виду транзисторов, который получил большое распространение. Б.т. потенциально дешевле обычных, что позволяет производить их большими партиями. Кроме того, в перспективе они могут использоваться для внедрения устройств везде, где применяется бумага. По словам исследователей, новые транзисторы пригодятся в создании бумажных дисплеев, электронных наклеек на багаж, радиометок, «умной» упаковки и т. д., включая применение в биотехнологиях. || As of July of 2008, a portuguese research team of Universidade Nova de Lisboa has successfully created the first paper transistor, which is expected to revolutionize the high expenses connected to that industry. [2008]English-Russian dictionary with terms in the field of electronics > Paper Transistor
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