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61 arroba
f.1 at, \@ symbol (computing) (en dirección de correo electrónico).2 twenty five pounds.3 at sign.pres.indicat.3rd person singular (él/ella/ello) present indicative of spanish verb: arrobar.* * *1 (medida de peso) measure of weight equal to 11.502 kg, 25.3 lbs; (medida de capacidad) variable liquid measure\por arrobas heaps of, stacks of, loads of* * *SF1) (=medida de peso) 25 pounds; (=medida de líquidos) a variable liquid measuretiene talento por arrobas — he has loads of talent, he oozes talent *
2) (Internet) [en dirección electrónica] at* * *1)b) ( medida de capacidad) unit of liquid measure of between 12 and 16 liters (US 25-34 pts, Brit. 21-28 pts) according to region2) ( en dirección electrónica) at, \@* * *1)b) ( medida de capacidad) unit of liquid measure of between 12 and 16 liters (US 25-34 pts, Brit. 21-28 pts) according to region2) ( en dirección electrónica) at, \@* * *arroba(\@)= \@ (at).Nota: Símbolo utilizado antiguamente en el comercio marítimo para representar la "ánfora" (vasija de dos asas) como unidad de transporte y peso.Ex: If any of you have questions and want to send me e-mail, my address is saunders\@novelnet.org.
* * *A feminine2 (medida de capacidad) unit of liquid measure of between 12 and 16 liters (US 25-34 pts, Brit. 21-28 pts) according to regionpor arrobas: nos dieron comida/vino por arrobas they gave us large quantities of o ( colloq) loads of food/wineB (en dirección electrónica) at, \@* * *
Del verbo arrobar: ( conjugate arrobar)
arroba es:
3ª persona singular (él/ella/usted) presente indicativo2ª persona singular (tú) imperativo
Multiple Entries:
arroba
arrobar
arroba sustantivo femenino
1 ( en dirección electrónica) at, at sign
2 Hist
arroba f (medida) Spanish unit of weight and of liquid measure, varying according to region
* * *arroba nf1. [unidad de peso] = 11.5 kg;Figpor arrobas by the sackful2. [unidad de volumen] [para vino] = approx 16 litres;[para aceite] = approx 12 litres“juan, arroba mundonet, punto, es” “juan, at mundonet, dot, es”ARROBA “\@”In standard Spanish grammar, where nouns, adjectives and pronouns have masculine and feminine forms, the masculine plural form is used when referring to a group which includes men and women (cf. the now old-fashioned use of “mankind” to mean “all humanity” in English). Although this is an inheritance from Latin, it has been criticized by many who say it “makes women invisible”. However, unless one explicitly uses both forms in full (“ellos y ellas” or “alumnos y alumnas” etc), the rules of grammar dictate the choice. In recent years, however, an informal alternative has emerged using the “\@” symbol, and this has become especially popular on the Internet. Thus “hola a tod\@s” (hello everyone) can stand for “todos” and “todas”. This usage has been criticised and has yet to migrate into formal written contexts, and there is no spoken equivalent (other than the wordy “hola a todos y todas”), but it is a sign that even in a gender-inflected language like Spanish there are moves to get round gender stereotyping.* * *f INFOR at sign, \@;josé arroba … josé at …* * *arroba nf: arroba (Spanish unit of measurement) -
62 encasillamiento
m.1 pigeonholing.2 stereotyping, separation in categories based on subjective appreciations, pigeonholing.3 typecasting.* * *SM1) pigeonholing2) (Teat) typecasting* * *A1 (de actor) typecasting2 (de personal) categorizationB (en una categoría) categorization* * *pigeonholing -
63 estereotipación
SF stereotyping -
64 stereotypi
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65 стереотипія
ж полігр.stereotype, stereotyping -
66 clisado
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67 estereotipado
• cut-and-dry• hackney coach• hackneyed phrase• stereotyped• stereotyping• time-worn -
68 laakapaino
yks.nom. laakapaino; yks.gen. laakapainon; yks.part. laakapainoa; yks.ill. laakapainoon; mon.gen. laakapainojen; mon.part. laakapainoja; mon.ill. laakapainoihinoffset (noun)offset printing (noun)* * *printing (graphic) industry• plain prontingprinting (graphic) industry• planographic printingprinting (graphic) industry• plain printingprinting (graphic) industry• offsetprinting (graphic) industry• offset printingprinting (graphic) industry• flat printingprinting (graphic) industry• stereotyping -
69 encajonamiento
m.1 act of packing up in a box.2 stereotyping, separation in categories based on subjective appreciations, pigeonholing.3 crating, casing, packing.4 boxing. -
70 kliše(j)
m cliche; print (printing) block, stereotype, electrotype, plate, cut I otrcani -i tired cliches; bromides; licemjerni kliše(j)i pious cliches, cant; print cinkov kliše(j) zinc block/etching, zincograph, zinco; izrada -a stereotyping, electrotyping, block-making -
71 kliširanje
n print stereotyping, electrotyping, block-making -
72 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. -
73 rollenpatroon
1 sex role ⇒ ±sex stereotyping -
74 Bruce, David
SUBJECT AREA: Paper and printing[br]b. c.1801 USAd. 13 September 1892 USA[br]American inventor of the first successful typecaster.[br]He was the son of David Bruce, typefounder, who introduced stereotyping into the USA. As a boy, he was employed on various tasks about the typefoundry and printing works of D. \& G. Bruce until 1819, when he was apprenticed to William Fry of Philadelphia, at that time the most eminent printer in America. However, he ran away from Fry and returned to his father, from whom he continued to learn the typefounder's trade. Around 1828 he moved to Albany, where he took charge of a typefoundry. Two years later he was back in New York and joined the firm of George Bruce \& Co. In 1834 he moved to New Jersey, where he set about producing the improved form of typecasting machine for which he is chiefly known. Having achieved success, he set up in business again in New York and remained there until his retirement some twenty-five years before his death. Bruce in fact invented the first effective typecasting machine in New York in 1838 and patented it the same year. His machine incorporated a force pump to drive the molten metal from the pot into the mould. The machine, operated by a wheel turned by hand, could produce forty sorts of various sizes per minute. The machine speeded up the production of type: between 3,000 and 7,000 pieces of type could be cast by hand, whereas these figures were raised to between 12,000 and 20,000 by the casting machine. The Bruce caster was not introduced into Britain until 1853. It was later supplanted by improved machines, notably that invented by Wicks.[br]Bibliography1887, letter, Inland Printer (September) (provides some biographical details).Further ReadingObituary, 1892, Inland Printer (November): 150.James Moran, 1965, The Composition of Reading Matter, London: Wace (provides some details of the Bruce machine).LRD -
75 Ged, William
SUBJECT AREA: Paper and printing[br]b. 1690 Edinburgh, Scotlandd. 19 October 1749 Edinburgh, Scotland[br]Scottish inventor of stereotyping.[br]While in business as a goldsmith and jeweller, he came across the earliest known attempt to make stereotypes, that by Van der Meys of Leiden in the sixteenth century. He soldered types to the bases of a bed of type, but the process proved too expensive to be adopted. Ged took out a patent of privilege in 1725 to develop Mey's method, agreeing with a printer that if they could make casts of made-up pages of type they "would make a fortune". After many experiments to find a suitable metal, he arrived at an alloy similar to type metal. However, Ged's efforts to promote his stereotypes were blocked by the indifference of the printers and the opposition of the compositors. He tried his luck in London but failed again for much the same reason as in Edinburgh. Thither he returned, but he died in poverty.[br]Further ReadingJ.Nichols, 1781, Biographical Memoir of William Ged (the 1819 edition includes "Supplementary narrative of William Ged and his inventions, written by his daughter").LRD -
76 Mergenthaler, Ottmar
SUBJECT AREA: Paper and printing[br]b. 11 May 1854 Hachtel, Germanyd. 28 October 1899 Baltimore, Maryland, USA[br]German/American inventor of the Linotype typesetting machine.[br]Mergenthaler came from a family of teachers, but following a mechanical bent he was apprenticed to a clockmaker. Having served his time, Mergenthaler emigrated to the USA in 1872 to avoid military service. He immediately secured work in Washington, DC, in the scientific instrument shop of August Hahl, the son of his former master. He steadily acquired a reputation for skill and ingenuity, and in 1876, when Hahl transferred his business to Baltimore, Mergenthaler went too. Soon after, they were commissioned to remedy the defects in a model of a writing machine devised by James O.Clephane of Washington. It produced print by typewriting, which was then multiplied by lithography. Mergenthaler soon corrected the defects and Clephane ordered a full-size version. This was completed in 1877 but did not work satisfactorily. Nevertheless, Mergenthaler was moved to engage in the long battle to mechanize the typesetting stage of the printing process. Clephane suggested substituting stereotyping for lithography in his device, but in spite of their keen efforts Mergenthaler and Hahl were again unsuccessful and they abandoned the project. In spare moments Mergenthaler continued his search for a typesetting machine. Late in 1883 it occurred to him to stamp matrices into type bars and to cast type metal into them in the same machine. From this idea, the Linotype machine developed and was completed by July 1884. It worked well and a patent was granted on 26 August that year, and Clephane and his associates set up the National Typographic Company of West Virginia to manufacture it. The New York Tribune ordered twelve Linotypes, and on 3 July 1886 the first of these set part of that day's issue. During the previous year the company had passed into the hands of a group of newspaper owners; increasing differences with the Board led to Mergenthaler's resignation in 1888, but he nevertheless continued to improve the machine, patenting over fifty modifications. The Linotype, together with the Monotype of Tolbert Lanston, rapidly supplanted earlier typesetting methods, and by the 1920s it reigned supreme, the former being used more for newspapers, the latter for book work.[br]Principal Honours and DistinctionsFranklin Institute John Scott Medal, Elliott Cresson Medal.Bibliography1898, Ottmar Mergenthaler and the Invention of Linotype, New York.Further ReadingJ.Moran, 1964, The Composition of Reading Matter, London.LRD -
77 Stanhope, Charles, 3rd Earl
[br]b. 3 August 1753 London, Englandd. 15 December 1816 Chevening, Kent, England[br]English politician, scientist and inventor.[br]Stanhope's schooling at Eton was interrupted in 1764 when the family moved to Geneva; there, he soon showed a talent for scientific pursuits. In 1771 he contributed a paper on the pendulum to the Swedish Academy, which awarded him a prize for it. After his return to London in 1774, he threw himself into politics, earning himself not only a reputation for promoting the liberty of the individual, but also unpopularity for championing the French Revolution.Stanhope is best known for his inventions in printing. In 1800 he introduced the first successful iron press, known by his name. Its iron frame enabled a whole forme to be printed at one pull, thus speeding up production. The press retained the traditional screw but incorporated a system of levers which increased the pressure on the platen up to the moment of contact with the type, so that fine, sharp impressions were obtained and the work of the pressman was made easier. Stanhope's process for moulding and reproducing formes, known as stereotyping, became important when curved formes were required for cylinder presses. His invention of logotypes for casting type, however, proved a failure. Throughout his political activities, Stanhope devoted time and money to scientific and mechanical matters. Of these, the development of steamships is noteworthy. He took out patents in 1790 and 1807, and in 1796 he constructed the Kent for the Admiralty, but it was unsuccessful. In 1810, however, he claimed that a vessel 110 ft (33.5 m) long and 7 ft (2.1 m) in draught "outsailed the swiftest vessels in the Navy".[br]Further ReadingG.Stanhope, 1914, The Life of Charles, Third Earl Stanhope, London.H.Hart, 1966, Charles Earl Stanhope and the Oxford University Press, London: Printing Historical Society (a reprint of a paper, originally published in 1896, describing Stanhope's printing inventions; with copious quotations from Stanhope's own writings, together with an essay on the Stanhope press by James Moran).LRDBiographical history of technology > Stanhope, Charles, 3rd Earl
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78 Stereotypie
f PRINT stereotyping -
79 traditionelle / klischeehafte Zuordnung der Geschlechterrollen
Deutsch-Englisches Wörterbuch > traditionelle / klischeehafte Zuordnung der Geschlechterrollen
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80 круглый
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См. также в других словарях:
Stereotyping — Stereotype Ste re*o*type, v. t. [imp. & p. p. {Stereotyped}; p. pr. & vb. n. {Stereotyping}.] [Cf. F. st[ e]r[ e]otyper.] 1. To prepare for printing in stereotype; to make the stereotype plates of; as, to stereotype the Bible. [1913 Webster] 2.… … The Collaborative International Dictionary of English
stereotyping — stereotype, stereotyping Derived from the Greek (stereos = solid, typos = mark), and applied in the late eighteenth century as a technical term for the casting of a papier mâché copy of printing type, the concept was developed by the North… … Dictionary of sociology
stereotyping — ➡ political correctness * * * … Universalium
stereotyping — ster·e·o·type || stɪrɪətaɪp / ster n. conventional and oversimplified concept or image; old process for making metal printing plates; metal printing plate made by the stereotype process v. make a stereotype of; categorize as a stereotype;… … English contemporary dictionary
stereotyping — Making assumptions about individuals or groups based on information (which may or may not be valid) obtained before the individual or group has been encountered. Once encountered, opinions formed may be based on dress, speech, gender, ethnic… … Big dictionary of business and management
stereotyping — See: stereotype … English dictionary
stereotyping — the act of portraying a particular character (or group) with a formulaic, conforming, exaggerated, and oversimplified representation, usually offensive and distorted Example: in Breakfast at Tiffany s (1961), the portrayal of Audrey Hepburn s … Glossary of cinematic terms
stereotyping — noun Etymology: from gerund of stereotype (II) : the process, craft, or business of making stereotypes … Useful english dictionary
Стереотипизация (stereotyping) — В исслед. предубеждений в отношении этнических групп часто ссылаются на важную роль стереотипов тех обобщенных и, как правило, нагруженных оценочными суждениями впечатлений, к рые члены одной соц. группы используют при характеристике членов др.… … Психологическая энциклопедия
Paper stereotyping — Изготовление бумажных матриц … Краткий толковый словарь по полиграфии
Stereotype — For other uses, see Stereotype (disambiguation). A stereotype is a popular belief about specific social groups or types of individuals. The concepts of stereotype and prejudice are often confused with many other different meanings. Stereotypes… … Wikipedia
