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1 the new business flourished
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2 flourish
n. zwaai, wapper; parade (voor de show); wappering; gebruik van hoge woorden; trompet klank--------v. uitzwaaien, zwaaien; bloeien; suces hebbenflourish1[ flurrisj] 〈 zelfstandig naamwoord〉1 krul ⇒ krul/sierletter4 fanfare ⇒ geschal, preludium♦voorbeelden:————————flourish2♦voorbeelden:his family were flourishing • het ging goed met zijn gezinII 〈 overgankelijk werkwoord〉1 tonen ⇒ zwaaien/wuiven met♦voorbeelden: -
3 ownership
Besitz, derbe under new ownership — [Firma, Laden, Restaurant:] einen neuen Inhaber/eine neue Inhaberin haben
* * *noun das Eigentumsrecht* * *own·er·ship[ˈəʊnəʃɪp, AM ˈoʊnɚ-]the \ownership of the company has passed to the banks das Eigentumsrecht an dem Unternehmen ist auf die Banken übergangenhome \ownership Wohneigentum ntchange of \ownership Eigentumswechsel m, Eigentümerwechsel mproof of \ownership Eigentumsnachweis mcommon [or collective] \ownership Miteigentum nt, Kollektivinhaberschaft f, Genossenschaft f bes ÖSTERRjoint \ownership Miteigentum ntto be under [or in] private/public \ownership sich in Privat-/Staatsbesitz befindenthere is a debate about whether these industries should be in public or private \ownership es wird darüber debattiert, ob diese Branchen in öffentlichem oder Privatbesitz sein solltento claim \ownership seine Besitzansprüche anmeldenseveral people have claimed \ownership of the bracelet found in the park on Saturday mehrere Leute haben behauptet, dass das Armband, das am Samstag im Park gefunden wurde, ihnen gehört* * *['əʊnəʃɪp]nBesitz mto establish the ownership of sth — den Besitzer einer Sache (gen) feststellen
there are doubts as to the ownership of the property — es ist nicht klar, wer der Eigentümer dieses Grundstücks ist
under his ownership the business flourished — das Geschäft blühte in der Zeit, als es sich in seinem Besitz befand
since we've been under new ownership —
this certifies your ownership of... — das weist Sie als Eigentümer von... aus
* * *1. JURa) Eigentum(srecht) nb) Inhaberschaft f2. weitS.a) Besitz mb) Besitzverhältnisse pl* * *noun, no pl.Besitz, derbe under new ownership — [Firma, Laden, Restaurant:] einen neuen Inhaber/eine neue Inhaberin haben
* * *n.Eigentum -¨er n. -
4 Massey, Daniel
SUBJECT AREA: Agricultural and food technology[br]b. 1798 Vermont, USAd. 1856 Canada[br]American agricultural machinery manufacturer and co-founder of the Massey Harris Company (now Massey Ferguson).[br]In about 1800 Daniel Massey's family moved to Upper Canada. At the age of 6 he was sent back to stay with his grandparents in Waterton, USA, where he attended school for three years. He returned to his parents in 1807, and for the next twelve years he remained on his father's farm.At the age of 19 he forfeited his rights to his inheritance and rented land further west, which he began to clear. By the age of 21 he owned 200 acres, and during the next twelve years he bought, cleared and sold a further 1,200 acres. In 1820 he married Lucina Bradley from Water-town and returned with her to Canada.In 1830 he decided to settle down to farming and brought one of the first US threshing machines into Canada. From frequent visits to his family in the US he would return with new farm equipment, and in 1844 he handed his farm over to his eldest son so that he could concentrate on the development of his farm workshop. In 1845 he formed a brief partnership with R.F.Vaughan, who owned a small factory in Durham County near Lake Ontario. He began the production of ploughs, harrows, scufflers and rollers at a time when the Canadian Government was imposing heavy import duties on agricultural equipment being brought in from the USA. His business flourished and within six months he bought out his partner.In 1848 he bought another foundry in Newcastle, together with 50 acres of land, and in 1851 his son Hart joined him in the business. The following year Hart returned from the USA with the sole rights to manufacture the Ketchum mower and the Burrell reaper.The advent of the railway four years later opened up wider markets, and from these beginnings the Massey Company was to represent Canada at the Paris Exhibition of 1867. The European market was secured by the successes of the Massey reaper in the "World" trials held in France in 1889. Two years later the company merged with the Harris Company of Canada, to become the Massey Harris Company. Daniel Massey retired from the company four years after his son joined it, and he died the following year.[br]Further ReadingGraeme Quick and Wesley Buchele, 1978, The Grain Harvesters, American Society of Agricultural Engineers (gives an account of harvest machinery development, in which Massey Harris played a vital role).Merrill Denison, 1949, Harvest Triumphant: The Story of Massey Harris, London.AP -
5 ownership
noun propiedadtr['əʊnəʃɪp]1 propiedad nombre femenino, posesión nombre femeninoownership ['o:nər.ʃɪp] n: propiedad fn.• pertenencia s.f.• posesión s.f.• propiedad s.f.'əʊnərʃɪp, 'əʊnəʃɪpmass noun propiedad fthe company is in private/state ownership — la compañía es de propiedad privada/estatal
['ǝʊnǝʃɪp]N propiedad fthey abolished private ownership of the means of production — abolieron la propiedad privada de los medios de producción
under new ownership — nuevo propietario, nuevo dueño
* * *['əʊnərʃɪp, 'əʊnəʃɪp]mass noun propiedad fthe company is in private/state ownership — la compañía es de propiedad privada/estatal
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6 ownership *** own·er·ship n
['əʊnəʃɪp] -
7 Strowger, Almon Brown
SUBJECT AREA: Telecommunications[br]b. 19 October 1839 Penfield, New York, USAd. 26 May 1902 St Petersburg, Florida, USA[br]American soldier, teacher and undertaker who developed the first commercially successful automatic telephone-switching system.[br]Enlisting in the 8th New York Cavalry on his twenty-second birthday at the beginning of the American Civil War, Strowger reached the rank of Second Lieutenant. After the war he taught in a number of schools, including that where he had been a pupil, then bought an undertaking business in North Topeka, Kansas. After the death of his wife, he remarried and moved the business to Kansas City.In 1887, suspecting that the local telephone operator was diverting his potential clients to a rival, he devised a cardboard mock-up of an automatic switching mechanism comprising ten layers of ten contacts, in which electromagnets would be used to lift and rotate the contact wiper arm and thus connect the caller to any one of 100 telephone destinations. Two years later he filed a patent for a 1,000-line automatic exchange.With the help of his nephew he made a 100line working demonstration and eventually, with the aid of financial backers, the Strowger Automatic Exchange Company was established on 30 October 1891; its first exchange was installed in La Porte, Indiana, in 1892. By the end of 1896 Strowger exchanges had been established in a number of other towns. That year the Strowger engineers introduced the dial system to replace the confusing push-button mechanism, an innovation that was to survive until relatively recently, and the following year saw development of a "trunking" system. In failing health, Strowger retired to Florida, but the company flourished and eventually became part of General Telephones and Electronics (GTE).[br]Principal Honours and DistinctionsStrowger's pioneering development was commemorated in 1949 by the telephone industry placing a bronze plaque on his grave in St Petersburg, Florida.Bibliography12 March 1889, US patent no. 447, 918.Further ReadingR.J.Chaphuis, 1982, 100 Years of Telephone Switching 1878–1978. Part I: Manual and Electromechanical Switching 1878–1960.KF -
8 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.
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