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publishing+company

  • 101 plug

    1. noun
    1) (a device for putting into a mains socket in order to allow an electric current to flow through the appliance to which it is attached by cable: She changed the plug on the electric kettle.) støpsel
    2) (an object shaped for fitting into the hole in a bath or sink to prevent the water from running away, or a piece of material for blocking any hole.) propp, tapp
    2. verb
    (to block (a hole) by putting a plug in it: He plugged the hole in the window with a piece of newspaper.) tette, plugge
    plugg
    --------
    propp
    --------
    støpsel
    --------
    tapp
    I
    subst. \/plʌɡ\/
    1) propp (av plast eller tre), bunnpropp (i båt), oljeplugg (på bilmotor), tapp, plugg, spuns (i tønne)
    2) ( elektronikk) støpsel, stikkontakt (hverdagslig)
    3) ( elektronikk) sikring, sikringspropp
    4) ( tannlegefag) plombe, fylling
    5) ( medisin) tampong
    6) ( på dreiebenk) spindel
    7) ( i lås) sylinder
    8) ( elektronikk) tennplugg
    9) presset tobakk i plate eller rull, buss, stykke skråtobakk
    10) (spesielt amer.) brannhydrant, brannpost
    11) ( slang) lovord, anbefaling, reklameinnslag
    12) (geologi, i vulkan) propp
    13) (slang, spesielt amer.) øk, utslitt gamp
    14) ( slang) uselgelig vare, bok som ikke går godt
    15) slags kastesluk
    16) ( slang) falsk mynt
    17) ( slang) slag
    18) ( også plug hat) flosshatt
    cut plug presset og skåret tobakk
    give something a plug reklamere for noe, anbefale noe
    plug cut (amer.) flosshatt, høy hatt
    plugs restopplag
    pull the plug ( om wc) trekke i snora, dra ned
    pull the plug on sette kroken på døra for, stoppe
    the publishing company pulled the plug on the project when it became too expensive
    II
    verb \/plʌɡ\/
    1) plugge igjen, tette igjen (med en plugg\/propp), sette en plugg i, sette en propp i
    2) feste med tapp, feste med kile, feste med plugg
    3) ( tannlegefag) plombere
    4) ( medisin) tamponere
    5) ( slang) oppreklamere, drive reklame for, lansere, selge, anbefale
    6) (slang, amer.) slå, slå ned
    7) (slang, amer.) skyte med gevær
    8) jobbe jevnt og trutt
    plug along eller plug away ( hverdagslig) jobbe jevnt og trutt
    plug in ( elektronikk) koble til, plugge i

    English-Norwegian dictionary > plug

  • 102 editar

    v.
    1 to publish.
    La casa editorial editó mi libro The publishing company published my book.
    2 to edit (computing, Rad & TV).
    Elsa edita los textos de la oficina Elsa edits the office texts.
    * * *
    1 (libros, revistas) to publish; (discos) to release
    2 INFORMÁTICA to edit
    * * *
    verb
    * * *
    VT
    1) (=publicar) to publish
    2) (=corregir) (tb Inform) to edit
    * * *
    verbo transitivo
    1) ( publicar) <libro/revista> to publish
    2) ( modificar) <película/grabación/texto> to edit; (Inf) to edit
    * * *
    = edit, publish, release, redact.
    Ex. During the construction of a thesaurus, the computer can be enlisted to sort, merge, edit and compare terms.
    Ex. There is no official index to the whole scheme, although an index has been published.
    Ex. Continuous revision means that Phoenixes and major revisions will be released as separates between editions.
    Ex. Also, the movie has been redacted by the producer -- it ends with a horrifying montage of real photos of dead and wounded Iraqis.
    ----
    * editar en colaboración = coedit [co-edit].
    * editar varias veces = go into + a number of editions.
    * reeditar = republish.
    * sin editar = unedited.
    * * *
    verbo transitivo
    1) ( publicar) <libro/revista> to publish
    2) ( modificar) <película/grabación/texto> to edit; (Inf) to edit
    * * *
    = edit, publish, release, redact.

    Ex: During the construction of a thesaurus, the computer can be enlisted to sort, merge, edit and compare terms.

    Ex: There is no official index to the whole scheme, although an index has been published.
    Ex: Continuous revision means that Phoenixes and major revisions will be released as separates between editions.
    Ex: Also, the movie has been redacted by the producer -- it ends with a horrifying montage of real photos of dead and wounded Iraqis.
    * editar en colaboración = coedit [co-edit].
    * editar varias veces = go into + a number of editions.
    * reeditar = republish.
    * sin editar = unedited.

    * * *
    editar [A1 ]
    vt
    A (publicar) ‹libro/revista› to publish
    1 ‹película/grabación/texto› to edit
    2 ( Inf) to edit
    * * *

    editar ( conjugate editar) verbo transitivo
    1 ( publicar) ‹libro/revista to publish
    2 ( modificar) ‹película/grabación/texto to edit;
    (Inf) to edit
    editar verbo transitivo
    1 (en papel) to publish
    2 (disco, CD) to bring out: van a editar un nuevo compacto, they are going to bring out a new CD
    3 Inform to edit
    ' editar' also found in these entries:
    Spanish:
    cortar
    English:
    cut
    - edit
    - publish
    - on
    * * *
    editar vt
    1. [publicar] [libro, periódico, revista] to publish;
    [disco, vídeo] to release
    2. [modificar] [texto, programa, grabación] to edit
    3. Informát to edit
    * * *
    v/t
    1 edit
    2 ( publicar) publish
    * * *
    editar vt
    1) : to edit
    2) publicar: to publish
    * * *
    editar vb
    1. (libro, revista) to publish
    2. (texto, película, informática) to edit

    Spanish-English dictionary > editar

  • 103 ed.

    Multiple Entries: Ed.     ed.
    ed.
    1 (abr de edición) edition
    2 (abr de editorial) publishing company
    3 (abr de editor) publisher, editor 'ed.' also found in these entries: English: bloodshed - cheddar - co-ed - copy-edit - cutting-edge - eddy - edge - edginess - edgy - edible - Edinburgh - edit - editing - editor - editorial - shed - V-neck - V-necked - watershed - woodshed - absorb - add - adjourn - adjust - aim - allow - appeal - approach - ask - attach - attempt - back - bang - bargain - bask - beckon - belch - betray - billow - block - blunder - boast - boil - bombard - book - borrow - bow - bowl - branch - brush

    English-spanish dictionary > ed.

  • 104 much

    [mʌtʃ] 1. adj
    time, money, effort dużo ( +gen), wiele ( +gen)

    we haven't got much time/money — nie mamy dużo or wiele czasu/pieniędzy

    I have as much money/intelligence as you — mam tyle samo pieniędzy/rozumu co ty

    2. pron
    dużo, wiele
    3. adv
    1) (greatly, a great deal) bardzo

    I read as much as possible/as ever — czytam tyle, ile to możliwe/co zawsze

    he is as much a part of the community as you — jest w takim samym stopniu częścią tej społeczności, co i ty

    2) ( by far) (+comparative) znacznie; (+superlative) zdecydowanie
    3) ( almost)

    the view is much as it was ten years ago — widok jest w dużym stopniu taki, jak dziesięć lat temu

    how are you feeling? — much the same — jak się czujesz? — prawie tak samo

    * * *
    comparative of; see more

    English-Polish dictionary > much

  • 105 Business Week

    "Бизнес уик"
    Еженедельный экономический журнал. Влиятельное, хорошо информированное издание, оперативно освещающее международную экономическую жизнь и комментирующее информацию, поступающую из всех сфер деловой активности в США и зарубежных странах. Основан в 1929. Выпускается в г. Нью-Йорке издательством "Макгроу-Хилл паблишинг" [McGraw-Hill Publishing Company, Inc.]. Тираж 949,1 тыс. экз. (2000)

    English-Russian dictionary of regional studies > Business Week

  • 106 Defense News

    "Дифенс ньюс"
    Еженедельная газета, освещающая деятельность Министерства обороны [ Department of Defense, U.S.] и комитетов Конгресса [ congressional committee], ведающих вопросами обороны. Издается в г. Спрингфилде, шт. Вирджиния компанией "Арми таймс" [Army Times Publishing Company]. Основана в 1985. Тираж около 20 тыс. экз.

    English-Russian dictionary of regional studies > Defense News

  • 107 EPC

    сокр. 1. Esperanta PEN-Centro Эсперантский ПЕН-центр; 2. ист. The Esperanto Publishing Company (англ.) Эсперантское издательство (1937—1952).

    Эсперанто-русский словарь > EPC

  • 108 БИБЛИОГРАФИЯ

    Мы приняли следующие сокращения для наиболее часто упоминаемых книг и журналов:
    IJP - International Journal of Psycho-analysis
    JAPA - Journal of the American Psychoanalytic Association
    SE - Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey (London: Hogarth Press and the Institute of Psycho-Analysis, 1953—74.)
    PSOC - Psychoanalytic Study of the Child (New Haven: Yale University Press)
    PQ - Psychoanalytic Quarterly
    WAF - The Writings of Anna Freud, ed. Anna Freud (New York: International Universities Press, 1966—74)
    PMC - Psychoanalysis The Major Concepts ed. Burness E. Moore and Bernard D. Fine (New Haven: Yale University Press)
    \
    О словаре: _about - Psychoanalytic Terms and Concepts
    \
    1. Abend, S. M. Identity. PMC. Forthcoming.
    2. Abend, S. M. (1974) Problems of identity. PQ, 43.
    3. Abend, S. M., Porder, M. S. & Willick, M. S. (1983) Borderline Patients. New York: Int. Univ. Press.
    4. Abraham, K. (1916) The first pregenital stage of libido. Selected Papers. London, Hogarth Press, 1948.
    5. Abraham, K. (1917) Ejaculatio praecox. In: selected Papers. New York Basic Books.
    6. Abraham, K. (1921) Contributions to the theory of the anal character. Selected Papers. New York: Basic Books, 1953.
    7. Abraham, K. (1924) A Short study of the development of the libido, viewed in the light of mental disorders. In: Selected Papers. London: Hogarth Press, 1927.
    8. Abraham, K. (1924) Manic-depressive states and the pre-genital levels of the libido. In: Selected Papers. London: Hogarth Press, 1949.
    9. Abraham, K. (1924) Selected Papers. London: Hogarth Press, 1948.
    10. Abraham, K. (1924) The influence of oral erotism on character formation. Ibid.
    11. Abraham, K. (1925) The history of an impostor in the light of psychoanalytic knowledge. In: Clinical Papers and Essays on Psychoanalysis. New York: Basic Books, 1955, vol. 2.
    12. Abrams, S. (1971) The psychoanalytic unconsciousness. In: The Unconscious Today, ed. M. Kanzer. New York: Int. Univ. Press.
    13. Abrams, S. (1981) Insight. PSOC, 36.
    14. Abse, D W. (1985) The depressive character In Depressive States and their Treatment, ed. V. Volkan New York: Jason Aronson.
    15. Abse, D. W. (1985) Hysteria and Related Mental Disorders. Bristol: John Wright.
    16. Ackner, B. (1954) Depersonalization. J. Ment. Sci., 100.
    17. Adler, A. (1924) Individual Psychology. New York: Harcourt, Brace.
    18. Akhtar, S. (1984) The syndrome of identity diffusion. Amer. J. Psychiat., 141.
    19. Alexander, F. (1950) Psychosomatic Medicine. New York: Norton.
    20. Allen, D. W. (1974) The Feat- of Looking. Charlottesvill, Va: Univ. Press of Virginia.
    21. Allen, D. W. (1980) Psychoanalytic treatment of the exhibitionist. In: Exhibitionist, Description, Assessment, and Treatment, ed. D. Cox. New York: Garland STPM Press.
    22. Allport, G. (1937) Personality. New York: Henry Holt.
    23. Almansi, R. J. (1960) The face-breast equation. JAPA, 6.
    24. Almansi, R. J. (1979) Scopophilia and object loss. PQ, 47.
    25. Altman, L. Z. (1969) The Dream in Psychoanalysis. New York: Int. Univ. Press.
    26. Altman, L. Z. (1977) Some vicissitudes of love. JAPA, 25.
    27. American Psychiatric Association. (1987) Diagnostic and Statistical Manual of Mental Disorders, 3d ed. revised. Washington, D. C.
    28. Ansbacher, Z. & Ansbacher, R. (1956) The Individual Psychology of Alfred Adler. New York: Basic Books.
    29. Anthony, E. J. (1981) Shame, guilt, and the feminine self in psychoanalysis. In: Object and Self, ed. S. Tuttman, C. Kaye & M. Zimmerman. New York: Int. Univ. Press.
    30. Arlow. J. A. (1953) Masturbation and symptom formation. JAPA, 1.
    31. Arlow. J. A. (1959) The structure of the deja vu experience. JAPA, 7.
    32. Arlow. J. A. (1961) Ego psychology and the study of mythology. JAPA, 9.
    33. Arlow. J. A. (1963) Conflict, regression and symptom formation. IJP, 44.
    34. Arlow. J. A. (1966) Depersonalization and derealization. In: Psychoanalysis: A General Psychology, ed. R. M. Loewenstein, L. M. Newman, M. Schur & A. J. Solnit. New York: Int. Univ. Press.
    35. Arlow. J. A. (1969) Fantasy, memory and reality testing. PQ, 38.
    36. Arlow. J. A. (1969) Unconscious fantasy and disturbances of mental experience. PQ, 38.
    37. Arlow. J. A. (1970) The psychopathology of the psychoses. IJP, 51.
    38. Arlow. J. A. (1975) The structural hypothesis. PQ, 44.
    39. Arlow. J. A. (1977) Affects and the psychoanalytic situation. IJP, 58.
    40. Arlow. J. A. (1979) Metaphor and the psychoanalytic situation. PQ, 48.
    41. Arlow. J. A. (1979) The genesis of interpretation. JAPA, 27 (suppl.).
    42. Arlow. J. A. (1982) Problems of the superego concept. PSOC, 37.
    43. Arlow. J. A. (1984) Disturbances of the sense of time. PQ, 53.
    44. Arlow. J. A. (1985) Some technical problems of countertransference. PQ, 54.
    45. Arlow, J. A. & Brenner, C. (1963) Psychoanalytic Concepts and the Structural Theory, New York: Int. Univ. Press.
    46. Arlow, J. A. & Brenner, C. (1969) The psychopathology of the psychoses. IJP, 50.
    47. Asch, S. S. (1966) Depression. PSOC, 21.
    48. Asch, S. S. (1976) Varieties of negative therapeutic reactions and problems of technique. JAPA, 24.
    49. Atkins, N. (1970) The Oedipus myth. Adolescence, and the succession of generations. JAPA, 18.
    50. Atkinson, J. W. & Birch, D. (1970) The Dynamics of Action. New York: Wiley.
    51. Bachrach, H. M. & Leaff, L. A. (1978) Analyzability. JAPA, 26.
    52. Bacon, C. (1956) A developmental theory of female homosexuality. In: Perversions,ed, S. Lorand & M. Balint. New York: Gramercy.
    53. Bak, R. C. (1953) Fetishism. JAPA. 1.
    54. Bak, R. C. (1968) The phallic woman. PSOC, 23.
    55. Bak, R. C. & Stewart, W. A. (1974) Fetishism, transvestism, and voyeurism. An American Handbook of Psychiatry, ed. S. Arieti. New York: Basic Books, vol. 3.
    56. Balint, A. (1949) Love for mother and mother-love. IJP, 30.
    57. Balter, L., Lothane, Z. & Spencer, J. H. (1980) On the analyzing instrument, PQ, 49.
    58. Basch, M. F. (1973) Psychoanalysis and theory formation. Ann. Psychoanal., 1.
    59. Basch, M. F. (1976) The concept of affect. JAPA, 24.
    60. Basch, M. F. (1981) Selfobject disorders and psychoanalytic theory. JAPA, 29.
    61. Basch, M. F. (1983) Emphatic understanding. JAPA. 31.
    62. Balldry, F. Character. PMC. Forthcoming.
    63. Balldry, F. (1983) The evolution of the concept of character in Freud's writings. JAPA. 31.
    64. Begelman, D. A. (1971) Misnaming, metaphors, the medical model and some muddles. Psychiatry, 34.
    65. Behrends, R. S. & Blatt, E. J. (1985) Internalization and psychological development throughout the life cycle. PSOC, 40.
    66. Bell, A. (1961) Some observations on the role of the scrotal sac and testicles JAPA, 9.
    67. Benedeck, T. (1949) The psychosomatic implications of the primary unit. Amer. J. Orthopsychiat., 19.
    68. Beres, C. (1958) Vicissitudes of superego functions and superego precursors in childhood. FSOC, 13.
    69. Beres, D. Conflict. PMC. Forthcoming.
    70. Beres, D. (1956) Ego deviation and the concept of schizophrenia. PSOC, 11.
    71. Beres, D. (1960) Perception, imagination and reality. IJP, 41.
    72. Beres, D. (1960) The psychoanalytic psychology of imagination. JAPA, 8.
    73. Beres, D. & Joseph, E. D. (1965) Structure and function in psychoanalysis. IJP, 46.
    74. Beres, D. (1970) The concept of mental representation in psychoanalysis. IJP, 51.
    75. Berg, M D. (1977) The externalizing transference. IJP, 58.
    76. Bergeret, J. (1985) Reflection on the scientific responsi bilities of the International Psychoanalytical Association. Memorandum distributed at 34th IPA Congress, Humburg.
    77. Bergman, A. (1978) From mother to the world outside. In: Grolnick et. al. (1978).
    78. Bergmann, M. S. (1980) On the intrapsychic function of falling in love. PQ, 49.
    79. Berliner, B. (1966) Psychodynamics of the depressive character. Psychoanal. Forum, 1.
    80. Bernfeld, S. (1931) Zur Sublimierungslehre. Imago, 17.
    81. Bibring, E. (1937) On the theory of the therapeutic results of psychoanalysis. IJP, 18.
    82. Bibring, E. (1941) The conception of the repetition compulsion. PQ, 12.
    83. Bibring, E. (1953) The mechanism of depression. In: Affective Disorders, ed. P. Greenacre. New York: Int. Univ. Press.
    84. Bibring, E. (1954) Psychoanalysis and the dynamic psychotherapies. JAPA, 2.
    85. Binswanger, H. (1963) Positive aspects of the animus. Zьrich: Spring.
    86. Bion Francesca Abingdon: Fleetwood Press.
    87. Bion, W. R. (1952) Croup dynamics. IJP, 33.
    88. Bion, W. R. (1961) Experiences in Groups. London: Tavistock.
    89. Bion, W. R. (1962) A theory of thinking. IJP, 40.
    90. Bion, W. R. (1962) Learning from Experience. London: William Heinemann.
    91. Bion, W. R. (1963) Elements of Psychoanalysis. London: William Heinemann.
    92. Bion, W. R. (1965) Transformations. London: William Heinemann.
    93. Bion, W. R. (1970) Attention and Interpretation. London: Tavistock.
    94. Bion, W. R. (1985) All My Sins Remembered, ed. Francesca Bion. Adingdon: Fleetwood Press.
    95. Bird, B. (1972) Notes on transference. JAPA, 20.
    96. Blanck, G. & Blanck, R. (1974) Ego Psychology. New York: Columbia Univ. Press.
    97. Blatt, S. J. (1974) Levels of object representation in anaclitic and introjective depression. PSOC, 29.
    98. Blau, A. (1955) A unitary hypothesis of emotion. PQ, 24.
    99. Bleuler, E. (1911) Dementia Praecox or the Group of Schizophrenias. New York: Int. Univ. Press, 1951.
    100. Blos, P. (1954) Prolonged adolescence. Amer. J. Orthopsychiat., 24.
    101. Blos, P. (1962) On Adolescence. New York: Free Press.
    102. Blos, P. (1972) The epigenesia of the adult neurosis. 27.
    103. Blos, P. (1979) Modification in the traditional psychoanalytic theory of adolescent development. Adolescent Psychiat., 8.
    104. Blos, P. (1984) Son and father. JAPA_. 32.
    105. Blum, G. S. (1963) Prepuberty and adolescence, In Studies ed. R. E. Grinder. New York: McMillan.
    106. Blum, H. P. Symbolism. FMC. Forthcoming.
    107. Blum, H. P. (1976) Female Psychology. JAPA, 24 (suppl.).
    108. Blum, H. P. (1976) Masochism, the ego ideal and the psychology of women. JAPA, 24 (suppl.).
    109. Blum, H. P. (1980) The value of reconstruction in adult psychoanalysis. IJP, 61.
    110. Blum, H. P. (1981) Forbidden quest and the analytic ideal. PQ, 50.
    111. Blum, H. P. (1983) Defense and resistance. Foreword. JAFA, 31.
    112. Blum, H. P., Kramer, Y., Richards, A. K. & Richards, A. D., eds. (1988) Fantasy, Myth and Reality: Essays in Honor of Jacob A. Arlow. Madison, Conn.: Int. Univ. Press.
    113. Boehm, F. (1930) The femininity-complex In men. IJP,11.
    114. Boesky, D. Structural theory. PMC. Forthcoming.
    115. Boesky, D. (1973) Deja raconte as a screen defense. PQ, 42.
    116. Boesky, D. (1982) Acting out. IJP, 63.
    117. Boesky, D. (1986) Questions about Sublimation In Psychoanalysis the Science of Mental Conflict, ed. A. D. Richards & M. S. Willick. Hillsdale, N. J.: Analytic Press.
    118. Bornstein, B. (1935) Phobia in a 2 1/2-year-old child. PQ, 4.
    119. Bornstein, B. (1951) On latency. PSOC, 6.
    120. Bornstein, M., ed. (1983) Values and neutrality in psychoanalysis. Psychoanal. Inquiry, 3.
    121. Bowlby, J. (1960) Grief and morning in infancy and early childhood. PSOC. 15.
    122. Bowlby, J. (1961) Process of mourning. IJP. 42.
    123. Bowlby, J. (1980) Attachment and Loss, vol. 3. New York: Basic Books.
    124. Bradlow, P. A. (1973) Depersonalization, ego splitting, non-human fantasy and shame. IJP, 54.
    125. Brazelton, T. B., Kozlowsky, B. & Main, M. (1974) The early motherinfant interaction. In: The Effect of the Infant on Its Caregiver, ed. M. Lewis & L. Rosenblum New York Wiley.
    126. Brenner, C. (1957) The nature and development of the concept of repression in Freud's writings. PSOC, 12.
    127. Brenner, C. (1959) The masochistic character. JAPA, 7.
    128. Brenner, C. (1973) An Elementary Textbook of Psycho-analysis. New York Int. Univ. Press.
    129. Brenner, C. (1974) On the nature and development of affects PQ, 43.
    130. Brenner, C. (1976) Psychoanalytic Technique and Psychic Conflict. New York: Int. Univ. Press.
    131. Brenner, C. (1979) The Mind in Conflict. New York: Int. Univ. Press.
    132. Brenner, C. (1979) Working alliance, therapeutic alliance and transference. JAPA, 27.
    133. Brenner, C. (1981) Defense and defense mechanisms. PQ, 50.
    134. Brenner, C. (1983) Defense. In: the Mind in Conflict. New York Int. Univ. Press.
    135. Bressler, B. (1965) The concept of the self. Psychoanalytic Review, 52.
    136. Breuer, J. & Freud, S. (1983—95) Studies on Hysteria. SE, 3.
    137. Breznitz, S., ed. (1983) The Denial of Stress. New York: Int. Univ. Press.
    138. Brody, S. (1964) Passivity. New York: Int. Univ. Press.
    139. Brown, H. (1970) Psycholinquistics. New York: Free Press.
    140. Bruner, J. S. (1964) The course of cognitive growth. Amer. Psychologist. 19.
    141. Bruner, J., Jolly, A. & Sylva, K. (1976) Play. New York Basic Books.
    142. Bruner, J. E., Olver, R. R. &Greenfield, P. M. (1966) Studies in Cognitive Growth. New York: Wiley.
    143. Buie, D H. (1981) Empathy. JAPA, 29.
    144. Burgner, M. & Edgeumble, R. (1972) Some problems in the conceptualization of early object relationships. PSOC, 27.
    145. Call, J. ed. (1979) Basic Handbook of Child Psychiatry. New York: Basic Books.
    146. Carroll, G. (1956) Language, Thought and Reality. Cambridge & London: M. I. T. Press & John Wiley.
    147. Cavenar, J. O. & Nash, J. L. (1976) The effects of Combat on the normal personality. Comprehensive Psychiat., 17.
    148. Chassequet-Smirgel, J. (1978) Reflections on the connection between perversion and sadism. IJP, 59.
    149. Chomsky, N. (1978) Language and unconscious knowledge. In: Psychoanalysis and Language, ed. J. H. Smith. New Haven: Yale Univ. Press, vol. 3.
    150. Clower, V. (1975) Significance of masturbation in female sexual development and function. In: Masturbation from Infancy to Senescence, ed. I. Marcus & J. Francis. New York: Int. Uni" Press.
    151. Coen, S. J. & Bradlow, P. A. (1982) Twin transference as a compromise formation. JAPA, 30.
    152. Compton, A. Object and relationships. PMC. Forthcoming.
    153. Cullen, W. (1777) First Lines of the Practice of Psysic. Edinburgh: Bell, Brandfute.
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    2. a в жёстком переплёте, в твёрдой обложке
    3. a относящийся к книге в твёрдой обложке

    hardcover publishing company — издательство, специализирующееся на выпуске книг в твёрдых переплётах

    English-Russian base dictionary > hardcover

  • 110 forlag n

    publisher [publishing company]

    Dansk-engelsk ordbog mini > forlag n

  • 111 uitgeversmaatschappij

    publishing-company/house/firm publisher(s)

    Van Dale Handwoordenboek Nederlands-Engels > uitgeversmaatschappij

  • 112 editorial

    editorial [‚edɪ'tɔ:rɪəl]
    (decision, comment) de la rédaction; (job, problems, skills) de rédaction, rédactionnel
    2 noun
    (a) (article) éditorial m
    (b) (department) service m de la rédaction, rédaction f
    ►► editorial changes corrections fpl;
    editorial content contenu m rédactionnel;
    editorial department (in press) service m de la rédaction, rédaction f, direction f de la rédaction;
    editorial director (of newspaper) rédacteur(trice) m,f en chef, directeur(trice) m,f de la rédaction; (of publishing company) directeur(trice) m,f de la rédaction;
    editorial freedom liberté f des rédacteurs;
    editorial interference ingérence f rédactionnelle;
    editorial office (salle f de) rédaction f;
    editorial opinion (in press) avis m éditorial;
    editorial policy politique f éditoriale; (in press) politique f de la rédaction;
    the editorial staff la rédaction

    Un panorama unique de l'anglais et du français > editorial

  • 113 some

    some [sʌm]
    du, de la, de, des1 (a) certains1 (b), 2 (b) un certain1 (c) quelques1 (c) quelques-uns2 (a), 2 (b) en2 (a) quelque3 (a) environ3 (a) un peu3 (b)
    (a) (a quantity of) du, de la, de l'; (a number of) des;
    don't forget to buy some cheese/beer/garlic n'oublie pas d'acheter du fromage/de la bière/de l'ail;
    I ate some fruit j'ai mangé des fruits;
    let me give you some advice laissez-moi vous donner un conseil;
    we've invited some friends round nous avons invité des amis à la maison;
    some red flowers des fleurs fpl rouges;
    some pretty flowers de ou des jolies fleurs fpl;
    I met some old friends last night j'ai rencontré de ou des vieux amis hier soir
    (b) (not all, certain) certains mpl, certaines fpl;
    some wine/software is very expensive certains vins/logiciels coûtent très cher;
    some petrol still contains lead il existe encore de l'essence avec plomb;
    some English people like frogs' legs certains Anglais aiment les cuisses de grenouille;
    some employees like the new system, others don't certains employés aiment le nouveau système, d'autres pas;
    some people say… certains disent…, il y en a ou il y a des gens qui disent…;
    some cars shouldn't be allowed on the road il y a des voitures qu'on ne devrait pas laisser circuler
    (c) (a considerable amount of) un certain, une certaine; (a considerable number of) quelques mfpl;
    I haven't been abroad for some time ça fait un certain temps que je ne suis pas allé à l'étranger;
    it happened (quite) some time ago ça s'est passé il y a (bien) longtemps;
    it will be some time before it's finished ça va prendre un certain temps ou un moment avant que ça soit fini;
    it's some distance from here c'est assez loin d'ici;
    the money should go some way towards compensating them l'argent devrait les dédommager dans une certaine mesure;
    at some length assez longuement;
    not without some opposition non sans rencontrer une certaine opposition;
    it happened some years/months ago ça s'est passé il y a quelques années/mois
    you might have shown some gratitude! tu aurais pu faire preuve d'un peu de gratitude(, quand même)!;
    I felt some uneasiness je ressentais quelque inquiétude;
    you must have some idea of how much it will cost vous devez avoir une petite idée de combien ça va coûter;
    I hope I've been of some help to you j'espère que je vous ai un peu aidé;
    in some measure, to some degree jusqu'à un certain point, dans une certaine mesure;
    I'm glad some people understand me! je suis content qu'il y ait quand même des gens qui me comprennent!
    (e) (unknown, unspecified)
    we must find some alternative il faut que nous trouvions une autre solution;
    he's gone to some town in the north il est parti dans une ville quelque part dans le nord;
    she works for some publishing company elle travaille pour je ne sais quelle maison d'édition;
    some fool left the door open un imbécile a laissé la porte ouverte;
    some book or other un livre quelconque;
    I'll get even with them some day! je me vengerai d'eux un de ces jours ou un jour ou l'autre!;
    come back some other time revenez un autre jour
    (f) familiar (expressing scorn, irritation)
    did you go to the party? - some party! est-ce que tu es allé à la fête? - tu parles d'une fête!;
    some hope we've got of winning! comme si on avait la moindre chance de gagner! ;
    some people! il y a des gens, je vous assure!
    (g) familiar (expressing admiration, approval)
    that was some party! ça c'était une fête!;
    (that was) some storm! quelle tempête! ;
    that was some meal! ce que nous avons bien mangé!;
    she's some girl! c'est une fille formidable!;
    he's some tennis player! c'est un sacré tennisman!
    (a) (an unspecified number or amount → as subject) quelques-uns mpl, quelques-unes fpl, certains mpl, certaines fpl; (→ as object) en;
    some are plain and some are patterned certains sont unis et certains ont des motifs;
    they went off, some one way, some another ils se sont dispersés, les uns d'un côté, les autres de l'autre;
    some say it wasn't an accident certains disent ou il y a des gens qui disent que ce n'était pas un accident;
    I've got too much cake, do you want some? j'ai trop de gâteau, en voulez-vous un peu?;
    can I have some more? est-ce que je peux en reprendre?;
    I have some more (I have some left) j'en ai encore; (I have some others) j'en ai d'autres;
    where are the envelopes? - there are some in my drawer où sont les enveloppes? - il y en a dans mon tiroir;
    he wants the lot and then some il veut tout et puis le reste
    some of the snow had melted une partie de la neige avait fondu;
    some of the time une partie du temps;
    I only believe some of what I read in the papers je ne crois pas tout ce que je lis dans les journaux;
    some of the most beautiful scenery in the world is in Australia certains des plus beaux paysages du monde se trouvent en Australie;
    I've seen some of her films j'ai vu quelques-uns ou certains de ses films;
    if you need pencils, take some of these/mine si vous avez besoin de crayons à papier, prenez quelques-uns de ceux-ci/des miens;
    do you want some or all of them? en voulez-vous quelques-uns ou les voulez-vous tous?;
    some of us/them certains d'entre nous/eux;
    some of my friends certains de mes amis;
    some of the guests had already left quelques invités étaient déjà partis
    (a) (approximately) quelque, environ;
    it's some fifty kilometres from London c'est à environ cinquante kilomètres ou c'est à une cinquantaine de kilomètres de Londres;
    some 500 people quelque 500 personnes;
    some thirty pounds une trentaine de livres, quelque trente livres;
    some fifteen minutes un bon quart d'heure;
    some few minutes ago il y a quelques minutes
    (b) American familiar (a little) un peu ; (a lot) beaucoup, pas mal;
    I need to rest up some j'ai besoin de me reposer un peu;
    admit it, you like her some! avoue-le, tu l'aimes bien!

    Un panorama unique de l'anglais et du français > some

  • 114 The Birth of a Nation

    (***)
       1915 - США (12 частей)
         Произв. Д.У. Гриффит, Epoch Producing Corporation
         Реж. ДЭЙВИД УОРК ГРИФФИТ
         Сцен. Д.У. Гриффит и Фрэнк Вудз по роману и пьесе Томаса Диксона-мл. «Человек клана» (The Clansman) и его же роману «Пятна леопарда» (The Leopard's Spots)
         Опер. Билли Битцер, Карл Браун
         Дек. Фрэнк Уортмен
         Кост. Роберт Голдстин
         В ролях Генри Б. Уолтхолл (Бен Кэмерон), Лиллиан Гиш (Элси Стоунмен), Мей Марш (Флора Кэмерон), Мириам Купер (Маргарет Кэмерон), Ралф Льюис (Остин Стоунмен), Мэри Олден (его гувернантка Лидия Браун), Джордж Сигман (Сайлас Линч), Уолтер Лонг (Гас), Роберт Хэррон (Тод Стоунмэн), Уоллес Рид (кузнец Джефф), Джозеф Хенабёри (Авраам Линкольн), Элмер Клифтон (Фил Стоунмен). Джозефина Кроуэлл (миссис Кэмерон), Споттисвуд Эйткен (д-р Кэмерон), Жорж Андре Беранже (Уэйд Кэмерон), Мэксфилд Стэнли (Дьюк Кэмерон), Дженни Ли (его служанка Мэмми), Рауль Уолш (Джон Уилкс Бут), Доналд Крисп (генерал Грэнт), Хауард Гей (генерал Ли), Сэм де Грэсс (Чарлз Самнер), Вайолет Уилки (Флора в детстве).
       Две семьи, объединенные узами дружбы и любви, - Стоунмены с Севера и Кэмероны из городка Пьемонт в штате Южная Каролина - проходят через трагические годы Гражданской войны в США. Дьюк, самый юный из 3 братьев Кэмеронов, погибает одновременно с Тодом, младшим из Стоунменов. Затем погибает Уэйд Кэмерон, во время осады Питерсбёрга, продлившейся целый год. (Капитуляция Питерсбёрга в апреле 1865 г. ознаменует собой крах Юга.) В сентябре 1864 г. армия северян берет приступом Атланту. Бен, старший из Кэмеронов по прозвищу Маленький Полковник, ведет себя героически при нападении на продовольственный конвой северян. При осаде Питерсбёрга он без колебаний приходит на помощь раненому врагу; его поступок бурно приветствуется северянами. Позднее он сам получает тяжелое ранение; его спасает Фил Стоунмен.
       После победы Севера Маленький Полковник попадает на лечение в вашингтонский госпиталь, где работает медсестрой Элси Стоунмен, чей портрет Бен всегда носил на груди, хотя никогда ее не встречал. Узнав, что ее сына собираются повесить за неповиновение, миссис Кэмерон просит милости для Бена у самого президента Линкольна и добивается своего. 9 апреля 1865 г. генерал Ли капитулирует перед генералом Грэнтом. В тот же день Бен покидает госпиталь и возвращается к своим. Остин Стоунмен, отец Элси и Фила, возглавивший лагерь радикалов, протестует против мягкости Линкольна к Югу. Благодаря протекции президента, Юг получает шанс восстать из руин. Однако 14 апреля 1865 г., на спектакле «Наш американский кузен» по случаю капитуляции Ли, Авраама Линкольна убивает в ложе Джон Уилкс Бут.
       Эту весть с безутешной скорбью встречают на Юге, где бывшие северяне стремятся передать власть в руки неопытным чернокожим. Став самым влиятельным человеком в Америке и заведя себе любовницу-мулатку. Остин Стоунмен направляет своего протеже мулата Сайласа Линча поддержать агитаторов за право голоса для чернокожих; в это время сенатор Самнер отстаивает гораздо менее опасную политику эмансипации. Линч располагает свою штаб-квартиру в Пьемонте. Его люди подговаривают чернокожих уходить от хозяев. Остин Стоунмен после болезни, по совету врачей, так же переселяется в Пьемонт. Элси вновь встречает Бена, и между ними начинается романтическая связь.
       На выборах голосуют чернокожие, но белые богачи не идут к участкам. Линча избирают губернатором. Отец Бена доктор Кэмерон лечит чернокожего слугу, жестоко избитого за отказ голосовать в поддержку Союза и «саквояжников» (кандидатов, прибывших с Севера). Бунт в Палате представителей штата: чернокожие получают большинство мандатов (1871). Бен Кэмерон расстроен тем, что его близкие разорены, и призывает создать «Ку-Клукс-Клан», организацию по обороне Юга. Люди, входящие в Клан, терроризируют чернокожего, поджигающего амбары. Несколько членов Клана погибают от рук сторонников Линча. «Мы раздавим белых черным сапогом», - говорит Стоунмен Линчу. Из-за отца Элси вынуждена расторгнуть помолвку с Беном. Младшая сестра Бена Флора пытается его утешить, как только может. Однажды Гас, чернокожий ренегат, которому покровительствует Линч, подстерегает Флору у источника и нападает на нее. Она пытается убежать и, оказавшись на краю пропасти, грозится прыгнуть, если Гас приблизится к ней хоть на шаг. Она прыгает и умирает на руках у Бена.
       Клан судит и казнит Гаса и подбрасывает его тело к дому Линча в Пьемонте. В ответ на это Линч усиливает чернокожую милицию, патрулирующую улицы. Он отдает приказ об аресте доктора Кэмерона. Старшая дочь Кэмерона Маргарет умоляет Элси вступиться за ее отца. Чернокожие, верные доктору; помогают ему скрыться в телеге. Элси узнает, что ее брат Фил убил чернокожего, пытаясь помочь доктору Кэмерону, который прячется в хижине, принадлежащей 2 ветеранам Союза. Элси просит Линча о помощи; тот требует, чтобы в награду она стала его женой. Он хочет создать черную империю и предлагает Элси стать ее королевой. В это время Клан бьет в набат, созывая всех своих воинов. Линч, видя, что Элси не спешит пойти ему навстречу, приказывает своим людям силой подготовить ее к женитьбе. Линч и любовница Остина затыкают рот Элси кляпом. В окруженной хижине ветераны-северяне не дают доктору Кэмерону сдаться. Клан выступает против чернокожих, завоевавших город: освобождает Элси, которую обнимает отец; берет в плен Линча; наконец, приходит на подмогу Кэмерону, осажденному с друзьями в хижине. Чернокожие разоружены. Выборы организованы заново. Двойной медовый месяц: для Маргарет и Фила и для Элси и Бена.
        Рождение нации - 1-я американская эпопея, 1-й очень полнометражный фильм, снятый в США - рассматривается большинством историков как ключевая веха в эволюции кинематографического зрелища, поскольку фильм облагородил это искусство. Это произошло благодаря оригинальности и богатству повествовательных приемов, полноценной власти режиссера над эстетической стороной картины и над весьма обширным материалом, а также - элемент, пренебрегать которым нельзя, - благодаря колоссальному успеху фильма. Мы считаем, что Кабирия, Cabiria. появившаяся раньше Рождения нации, сыграла более важную роль в повсеместном признании достоинств полнометражного формата. Но с точки зрения художественной ценности, вклад Рождения нации и его превосходство неоспоримы и никем не оспорены.
       В материальной сфере Гриффит очень ловко внушил всем иллюзию, будто на съемки этого фильма (несомненно, довольно дорогостоящие) ушли гигантские средства. После долгих недель репетиций, съемочный период продлился 9 недель (начиная с 4 июля 1914 г.) и сегодня известно, что число занятых артистов не превышало 500 (хотя в дни премьеры Гриффит говорил о 30–35 тысячах). Бюджет вырос с 40 000 до 110 000 долларов, при том что риск был велик, а отношение к проекту извне было скептическим. Несмотря на то что по замыслу финансированию и постановке Рождение нации было ремесленным предприятием, его прокат, реклама и премьера были, напротив, организованы с высочайшим профессионализмом. Напомним, что фильм собрал в прокате несколько десятков миллионов долларов и спровоцированный им скандал (легко объяснимый) принес большую пользу его прокатной судьбе.
       Главная эстетическая оригинальность картины состоит в попытке тесного переплетения истории страны и отдельных человеческих историй. Все, кто работал с Гриффитом, говорили, что он буквально впитывал в себя огромное количество книг, документов, фотографий, имеющих отношение к этому периоду американской истории. Выводя на экран важных и собирательных вымышленных персонажей (Остин Стоунмен, чьим прототипом послужил Таддеус Стивенз (***)) и подлинных исторических лиц (Линкольн, Ли, Грэнт и др.), сыгранных абсолютно достоверно, перемежая непосредственное развитие сюжета «историческими панно», восстановленными с максимальной правдивостью (подписание Линкольном 75-тысячного рекрутского набора, капитуляция Ли перед Грэнтом, убийство Линкольна в театре Форда и т. д.), Гриффит блестяще справляется со своей задачей в 1-й части фильма (которая заканчивается пребыванием Бена Кэмерона в госпитале). До этого момента пышность «панно» превосходно вписывается в очень живой и насыщенный ритм, который происходящие события навязывают развитию индивидуальных судеб героев, в особенности - через встречи представителей семей Стоунменов и Кэмеронов на линии фронта и в тылу.
       2-я часть рассказывает о восстановлении Юга и о начале расовых конфликтов, и сама суть фильма меняется: перед нами уже не частная или коллективная история, а параноидальные и в то же время идиллические фантазии о единой Америке. У этих фантазий есть визуальный центр, ядро, которое пользуется особой любовью и благосклонностью режиссера: Юг в общем смысле слова; Южная Каролина; Пьемонт; улица, на которой стоит дом Кэмеронов; сам этот дом; и, наконец, прихожая в этом доме. Эти места приобретают в изобразительном ряду особое значение из-за огромного числа сцен, где мы снова и снова возвращаемся к ним; они становятся навязчивым лейтмотивом.
       Союз Севера и Юга скрепляется в фильме на почве отторжения элементов, считающихся чужеродными для американского менталитета, а именно - чернокожих. Чернокожие, чьи роли преимущественно исполняют загримированные белые актеры, в идеологической конструкции фильма (если лишить термин «идеология» научного или исторического значения) представляют не только всю свою расу, но и, в более общем смысле, любые элементы, способные повредить извне единству и самосознанию американцев. Если рассматривать политическое содержание этой части более-менее всерьез, то его нельзя расценить иначе как вредное, пустое и даже абсурдное, учитывая реальную историческую эволюцию США. Однако именно в этой 2-й части картины Гриффит-художник раскрывается наиболее полно и откровенно. Именно благодаря этой горячности, этой безумной скачке сюжета в последней 1/3, фильма, основанной, с одной стороны, на строго параллельном монтаже эпизодов и разрыве действия на 3 линии, разворачивающиеся в разных местах, с другой стороны - на максимально лиричном использовании некоторых законов мелодрамы. Рождение нации торжествует как драматическое зрелище и произведение искусства. В финале, когда пластически великолепная кавалькада ку-клукс-клановцев побеждает угрозу в лице рассеянных по городу чернокожих авантюристов, освобождает Элси из рук палачей, снимает осаду с хижины, в которой скрываются Кэмероны, повествование приводит к восхитительному пространственно-временному смешению всех его составляющих элементов, до сих пор существовавших в прискорбном и драматическом отрыве друг от друга. Оно также завершается лирическим апофеозом, а публика, эмоционально вовлеченная в действие, становится частью произведения. Это триумф саспенса (в повествовании), изумления, захватывающего дух (у зрителя), и добрых намерений (в морали фильма). Это идеалистическая и сентиментальная - так сказать, ангельская - мораль, но на этом этапе действия никто даже не думает ее оспаривать, поскольку все увлечены любовью, миром и всеобщим единением. Все эти приемы, несущие «положительный» заряд на драматическом и визуальном уровне кинематографического зрелища, будут использоваться на протяжении полувека режиссерами со всех концов света. Они существовали в зачаточном состоянии в бесчисленных короткометражках Гриффита (многие затрагивают тему Гражданской войны). В этом случае они свидетельствуют о масштабе режиссера, его способности к синтезу и о редкостной увлеченности выбранной эпохой.
       БИБЛИОГРАФИЯ: раскадровка (1599 планов, считая промежуточные титры на англ. и фр.) в журнале «L'Avant-Scene», № 193–194 (1977). Двойное предисловие Пьера Сорлена, который особо упоминает автобиографию Гриффита, изданную Джеймсом Хартом под названием «Человек, который изобрел Голливуд: Автобиография Д.У. Гриффита» (James Hart, The Man Who Invented Hollywood: the Autobiography of D.W. Griffith, Touchstone Publishing Company, Louisville, Kentucky, 1972). «Мы не писали сценария, - уточняет Гриффит, - я вообще никогда его не писал. Мы брали костяк истории, всюду таскали его с собой, ели с ним, ходили с ним, гуляли с ним, видели его во сне, пока каждый эпизод, каждая сцена не отпечатались в нашем сознании. Затем мы приступали к репетициям. Мы репетировали 3 месяца, и только потом приступили к съемкам». Кроме того, известно, что фильм является очень вольной интерпретацией 2 романов Томаса Диксона (см. титры). Работа по раскадровке, проделанная Пьером Сорленом, опирается на более раннюю, но очень редкую работу Теодора Хаффа «Покадровый анализ фильма Д.У. Гриффита Рождение нации» (Theodore Huff, A Shot Analysis of D.W. Griffith's The Birth of a Nation. The Museum of Modern Art, New York. 1961) и на копию, хранящуюся в Британском киноинституте в Лондоне - она длиннее описанной Хаффом. Сорлен также принимает во внимание звуковую версию фильма (1930), содержащую в прологе интервью Гриффита Уолтеру Хьюстону, не воспроизведенное в журнале «L'Avant-Scene». Тщательно описаны движения камеры и расхождения между 3 использованными источниками. Номер «L'Avant-Scene» также включает исследование Сорлена на тему «Гражданская война в американском кинематографе до Рождения нации» и раскадровку Битвы, короткометражного фильма Гриффита (The Battle, 1911). Также рекомендуем следующие работы: специальный номер журнала «Film Culture», посвященный Симором Стерном фильму (№ 36, 1965); «Взгляд на Рождение нации» Фреда Силвы (Fred Silva, Focus on The Birth of Nation, Prentice-Hall, Englewood Cliffs, New Jersey, 1971): «Взгляд на Д.У. Гриффита» Гарри М. Гелулда (Harry М. Geluld, Focus on D.W. Griffith, то же издательство, 1971): «Кино, мистер Гриффит и я» Лиллиан Гит и Энн Пиншо (Lillian Gish, Ann Pinchot, The Movies, Mr. Griffith and Me, то же издательство, 1969) - перевод главы, посвященной съемкам Рождения нации, включен в сборник «Д.У. Гриффит», выпущенный под редакцией Патрика Бриона (Patrick Brion, D.W. Griffith, Equerre, Centre Georges Pompidou, 1982); «Приключения с Д.У. Гриффитом» - дневник съемок, который вел ассистент оператора Карл Браун (Adventures with D.W. Griffith, Farrar, Straus and Giroux, New York, 1973); «Билли Битцер, его история» Билли Битцера (Billy Bitzer, His Story, то же издательство. 1973); книга «Каждому человеку свое время», написанная Раулем Уолшем, ассистентом Гриффита и исполнителем роли Джона Уилкса Бута (Raoul Walsh, Each Man In His Time, то же издательство, 1974).
       ***
       --- Первоначальное название - Человек клана, The Clansman.
       --- Таддеус Стивенз (1792–1868) - американский политический деятель, юрист. Начинал политическую карьеру как активист Антимасонской партии; был среди учредителей Республиканской партии. Лидер ее левого крыла во время Гражданской войны. Как председатель Бюджетного комитета обеспечил финансовую поддержку военных действий северян. Выступал за проведение наступательных операций, за привлечение освобожденных рабов в армию Союза. Посте окончания войны добился принятия в 1867 г. радикальных методов реконструкции и введения военного правления на Юге как гарантии участия негров в выборах.

    Авторская энциклопедия фильмов Жака Лурселля > The Birth of a Nation

  • 115 Muybridge, Eadweard

    [br]
    b. 9 April 1830 Kingston upon Thames, England
    d. 8 May 1904 Kingston upon Thames, England
    [br]
    English photographer and pioneer of sequence photography of movement.
    [br]
    He was born Edward Muggeridge, but later changed his name, taking the Saxon spelling of his first name and altering his surname, first to Muygridge and then to Muybridge. He emigrated to America in 1851, working in New York in bookbinding and selling as a commission agent for the London Printing and Publishing Company. Through contact with a New York daguerreotypist, Silas T.Selleck, he acquired an interest in photography that developed after his move to California in 1855. On a visit to England in 1860 he learned the wet-collodion process from a friend, Arthur Brown, and acquired the best photographic equipment available in London before returning to America. In 1867, under his trade pseudonym "Helios", he set out to record the scenery of the Far West with his mobile dark-room, christened "The Flying Studio".
    His reputation as a photographer of the first rank spread, and he was commissioned to record the survey visit of Major-General Henry W.Halleck to Alaska and also to record the territory through which the Central Pacific Railroad was being constructed. Perhaps because of this latter project, he was approached by the President of the Central Pacific, Leland Stanford, to attempt to photograph a horse trotting at speed. There was a long-standing controversy among racing men as to whether a trotting horse had all four hooves off the ground at any point; Stanford felt that it did, and hoped than an "instantaneous" photograph would settle the matter once and for all. In May 1872 Muybridge photographed the horse "Occident", but without any great success because the current wet-collodion process normally required many seconds, even in a good light, for a good result. In April 1873 he managed to produce some better negatives, in which a recognizable silhouette of the horse showed all four feet above the ground at the same time.
    Soon after, Muybridge left his young wife, Flora, in San Francisco to go with the army sent to put down the revolt of the Modoc Indians. While he was busy photographing the scenery and the combatants, his wife had an affair with a Major Harry Larkyns. On his return, finding his wife pregnant, he had several confrontations with Larkyns, which culminated in his shooting him dead. At his trial for murder, in February 1875, Muybridge was acquitted by the jury on the grounds of justifiable homicide; he left soon after on a long trip to South America.
    He again took up his photographic work when he returned to North America and Stanford asked him to take up the action-photography project once more. Using a new shutter design he had developed while on his trip south, and which would operate in as little as 1/1,000 of a second, he obtained more detailed pictures of "Occident" in July 1877. He then devised a new scheme, which Stanford sponsored at his farm at Palo Alto. A 50 ft (15 m) long shed was constructed, containing twelve cameras side by side, and a white background marked off with vertical, numbered lines was set up. Each camera was fitted with Muybridge's highspeed shutter, which was released by an electromagnetic catch. Thin threads stretched across the track were broken by the horse as it moved along, closing spring electrical contacts which released each shutter in turn. Thus, in about half a second, twelve photographs were obtained that showed all the phases of the movement.
    Although the pictures were still little more than silhouettes, they were very sharp, and sequences published in scientific and photographic journals throughout the world excited considerable attention. By replacing the threads with an electrical commutator device, which allowed the release of the shutters at precise intervals, Muybridge was able to take series of actions by other animals and humans. From 1880 he lectured in America and Europe, projecting his results in motion on the screen with his Zoopraxiscope projector. In August 1883 he received a grant of $40,000 from the University of Pennsylvania to carry on his work there. Using the vastly improved gelatine dry-plate process and new, improved multiple-camera apparatus, during 1884 and 1885 he produced over 100,000 photographs, of which 20,000 were reproduced in Animal Locomotion in 1887. The subjects were animals of all kinds, and human figures, mostly nude, in a wide range of activities. The quality of the photographs was extremely good, and the publication attracted considerable attention and praise.
    Muybridge returned to England in 1894; his last publications were Animals in Motion (1899) and The Human Figure in Motion (1901). His influence on the world of art was enormous, over-turning the conventional representations of action hitherto used by artists. His work in pioneering the use of sequence photography led to the science of chronophotography developed by Marey and others, and stimulated many inventors, notably Thomas Edison to work which led to the introduction of cinematography in the 1890s.
    [br]
    Bibliography
    1887, Animal Locomotion, Philadelphia.
    1893, Descriptive Zoopraxography, Pennsylvania. 1899, Animals in Motion, London.
    Further Reading
    1973, Eadweard Muybridge: The Stanford Years, Stanford.
    G.Hendricks, 1975, Muybridge: The Father of the Motion Picture, New York. R.Haas, 1976, Muybridge: Man in Motion, California.
    BC

    Biographical history of technology > Muybridge, Eadweard

  • 116 Verlag

    -(e)s, -e
    m

    Deutsch-Englisch-Wörterbuch mini > Verlag

  • 117 Eigenverlag

    m
    self-publishing company

    Deutsch-Englisches Wörterbuch > Eigenverlag

  • 118 Schulbuchverlag

    m
    1. educational publisher
    2. educational publishing company

    Deutsch-Englisches Wörterbuch > Schulbuchverlag

  • 119 издателство

    publishing house/company; publisher(s)
    * * *
    изда̀телство,
    ср., -а publishing house/company; publisher(s).
    * * *
    publishers; publishing house
    * * *
    publishing house/company; publisher(s)

    Български-английски речник > издателство

  • 120 editora

    Dicionário português (brasileiro)-Inglês > editora

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