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1 produce full powers
1) Юридический термин: предъявлять полномочия2) Дипломатический термин: предъявить полномочия -
2 produce full powers
/vi/ предъявлять полномочия -
3 produce full powers
/vi/ предъявлять полномочия -
4 produce full powers
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5 to produce full powers
English-russian dctionary of diplomacy > to produce full powers
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6 full
adj повний, вичерпний- ex-officio full power повноваження згідно зі службовим положенням- full consideration всестороннє обговорення- full equality повна рівноправність- full exercise of smth. повне здійснення чогось- full powers for the conclusion of a treaty всеохоплюючі повноваження на заключення договору- standing full power постійні повноваження- to dispense with full powers не вимагати пред'явлення повноважень- to give full attention to smbd. приділяти багато уваги- to give full coverage of an event широко висвітлювати у пресі подію- to make full use of existing practices ефективно використовувати існуючі можливості- to produce full powers пред'являти повноваження- to reproduce in full повністю відтворити текст- full powers which were found in good and due form повноваження перебувають у належному порядку і належній формі -
7 produce
1. n продукция, изделия; продукт2. n сельскохозяйственные продукты, сельскохозяйственная продукцияgarden produce — овощи и фрукты; зелень
3. n результат, исход4. n потомок, потомство5. v предъявлять, представлять6. v ставить; осуществлять постановку7. v создавать8. v производить, вырабатывать, выпускать; изготовлять9. v приносить, даватьfields which produce heavy crops — поля, которые дают богатый урожай
produce a profit — давать прибыль; приносить прибыль
10. v вызывать, быть причиной11. v мат. проводитьСинонимический ряд:1. fruit (noun) fruit; harvest; vegetables2. product (noun) crops; fruits; outgrowth; product; production; return; yield3. bear (verb) afford; bear; blossom; bring forth; furnish; give; provide; turn out; yield4. cause (verb) accomplish; assemble; bring about; cause; construct; draw on; effect; effectuate; engender; give rise to; induce; lead to; manufacture; occasion; result in; secure5. generate (verb) compose; create; develop; father; generate; get up; hatch; muster up; originate; parent; provoke; sire; spawn; work up; write6. make (verb) build; erect; fabricate; fashion; forge; form; frame; make; mold; mould; put together; shape7. pay (verb) bring in; clear; draw; earn; gain; gross; net; pay; realise; repay; return8. procreate (verb) beget; breed; cultivate; grow; multiply; procreate; propagate; raise; reproduce9. show (verb) bring forward; demonstrate; display; exhibit; manifest; present; show; unfold10. stage (verb) mount; put on; stageАнтонимический ряд:destroy; hide; ruin; squelch; subdue; withhold -
8 sweeping emergency powers
English-Russian big medical dictionary > sweeping emergency powers
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9 power
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10 play
plei 1. verb1) (to amuse oneself: The child is playing in the garden; He is playing with his toys; The little girl wants to play with her friends.) leke2) (to take part in (games etc): He plays football; He is playing in goal; Here's a pack of cards - who wants to play (with me)?; I'm playing golf with him this evening.) spille3) (to act in a play etc; to act (a character): She's playing Lady Macbeth; The company is playing in London this week.) spille, opptre i/som4) ((of a play etc) to be performed: `Oklahoma' is playing at the local theatre.) oppføres, gå5) (to (be able to) perform on (a musical instrument): She plays the piano; Who was playing the piano this morning?; He plays (the oboe) in an orchestra.) spille6) ((usually with on) to carry out or do (a trick): He played a trick on me.) spille (noen) et puss7) ((usually with at) to compete against (someone) in a game etc: I'll play you at tennis.) spille mot8) ((of light) to pass with a flickering movement: The firelight played across the ceiling.) spille, blafre9) (to direct (over or towards something): The firemen played their hoses over the burning house.) rette mot10) (to put down or produce (a playing-card) as part of a card game: He played the seven of hearts.) spille ut2. noun1) (recreation; amusement: A person must have time for both work and play.) lek(ing), underholdning2) (an acted story; a drama: Shakespeare wrote many great plays.) skuespill, drama, teaterstykke3) (the playing of a game: At the start of today's play, England was leading India by fifteen runs.) spill4) (freedom of movement (eg in part of a machine).) spillerom, klaring•- player- playable
- playful
- playfully
- playfulness
- playboy
- playground
- playing-card
- playing-field
- playmate
- playpen
- playschool
- plaything
- playtime
- playwright
- at play
- bring/come into play
- child's play
- in play
- out of play
- play at
- play back
- play down
- play fair
- play for time
- play havoc with
- play into someone's hands
- play off
- play off against
- play on
- play a
- no part in
- play safe
- play the game
- play uplek--------leke--------spill--------spille--------spøkIsubst. \/pleɪ\/1) lek, leking, spill2) spøk, tull3) ordspill4) ( i spill) tur5) hasardspill, gambling, spill6) spill, fremførelse, forestilling7) skuespill, teaterstykke, drama• let's go to a play!8) spill9) bevegelse, gang, virksomhet, aktivitet10) spillerom, armslag11) slark, klaring, rom, slakkslakke på tauet, fire ut mer tau12) arbeidsstans, arbeidsnedleggelse13) (amerikansk fotball, også play offensive)angrepsplanallow\/give something full play la noe få fritt spillerom, la noe få utvikle seg frittgi sine evner fritt utløp, la sine evner få utvikle seg uhindretat play som deltar i lekbe at play delta i lekbe in full play være i full gangbring into play sette i bevegelse, sette i gangcall into play sette i bevegelse, sette i gang, mobilisere, utvikle sette inn, spille inn, gjøre seg gjeldendechild's play se ➢ childcome into play eller be brought into play eller be called into play komme i gang, tre i kraft, gjøre seg gjeldende gjøre seg gjeldende, spille inndirty play skittent spill, stygt spill (i sport)fair play fair play, ærlig spillhold\/keep somebody in play holde noen sysselsattin play på spøk, på tulli lek, som lek ( om ball) i spillmake a play for ( slang) forsøke å sjekke opp( slang) forsøke å vinne til seg, bearbeidemake play with gjøre et stort nummer av, kokettere med, bruke til å vise segout of play ( om ball) død, ute av spill, uteplace a play få satt opp et stykkeplay fair with være renhårig motplay on words ordspillsee fair play se til at det går riktig for segIIverb \/pleɪ\/1) leke• what shall we play?2) (om sport og spill, også overført) spille• let's play cards!3) ( sport) spille mot noen, spille mot et lag4) spille, beherske (om musikkinstrument), fremføre, lyde (om selve instrumentet)• do you play the piano?spiller du piano?, kan du spille piano?hun spilte en sonate, hun fremførte en sonateorgelet spiller, orgelet lyder5) (om CD, CD-spiller e.l.) spille6) spille (om rolle, drama, forestilling), fremføre (om drama), spille i\/på (om sted)fremføre\/spille en farsede hadde forestillinger\/konserter i alle storbyene7) spille, spille ut (om kort), flytte (om brikke)8) ( i spill) vedde, by, gamble9) ( om lys) leke, spille, skimre10) være i gang, være i funksjon12) (hverdagslig, spesielt ved streik) gå ledig14) (i sport, om ball eller slag) slå15) rette, sikte, holde i gangplay about løpe omkring og lekeopptre uansvarlig, tulle• stop playing about!play about with leke med, klå på, fingre på, pille påplay along late som om en samarbeiderplay a part spille en rolle ( overført) spille komedieplay around ha mange kjærlighetsforhold, flørtevære utro være promiskuøsplay at gjøre\/gjennomføre halvhjertet late som• just what are you playing at?play a trick on bedra, lure, narreplay away spille bortplay back ( om lydopptak) spille gjennom, høre gjennomplay down bagatellisere, avdramatisere, tone ned, dysse nedplay down to the crowd ( overført) spille for gallerietplayed out utbrent, utslitt, tappet for energi gått av moten, ikke lenger nyttigden teorien har spilt ut sin rolle, denne teorien har ikke lenger noe for segoppbrukt, ferdigplay false ( om spill) spille falsktplay fast and loose with leke med, behandle skjødesløstplay fetch leke kast pinnen (med hund)play first begynneplay for somebody akkompagnere noen, kompe noenplay hard to get gjøre seg kostbar, spille kostbarplay into somebody's hands gi noen overtaket uforvarendeplay it by the ear ta det som det kommer, ta noe som det faller segplay it cool ta det rolig, ha is i magenplay it down on utnytte grovt snyteplay it low\/down on somebody ( hverdagslig) utnytte noen grovt ( hverdagslig) lure noen, bedra noenplay off spille ekstra kamp for å avgjøre en uavgjort kampplay on\/upon spille på, utnytteplay one person off against another sette to personer opp mot hverandreplay oneself out bli utmattet, bli utbrentslite seg utplay out spille ut, spille til ende bruke oppplay over spille gjennomplay safe gardere seg, seife, ikke ta sjanserplay somebody spille mot noen( i kamp e.l.) la noen spille, sette inn noen, plassere noen, stille opp noenplay somebody along lure\/villede noen (over tid)play the field (amer., hverdagslig) more seg, flørte være rundbrenner, feie over så mange som mulig, ta for segplay the fool eller act the fool oppføre seg som en idiot, dumme seg utplay the game ( også overført) følge spilleregleneplay up ( britisk) være plagsom, lage trøbbel, gjøre ugagn (om person), lage vanskeligheter ( britisk) gjøre vondt, være til besværdet dårlige benet mitt begynner å verke igjen erte, irriteresette alle krefter til• play up, the Reds!kom igjen, det røde laget!legge vekt på, fokusere på, slå stort opp, blåse opp, reklamere forplay up to somebody innsmigre seg hos noen, snakke noen etter munnen( teater eller overført) spille opp til noen støtte noen, bakke opp noenplay up with ( slang) kullkaste, forpurre, ødeleggeplay with oneself ( forskjønnende) onanere, masturbere -
11 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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