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121 Carnot, Nicolas Léonard Sadi
SUBJECT AREA: Steam and internal combustion engines[br]b. 1 June 1796 Paris, Franced. 24 August 1831 Paris, France[br]French laid the foundations for modern thermodynamics through his book Réflexions sur la puissance motrice du feu when he stated that the efficiency of an engine depended on the working substance and the temperature drop between the incoming and outgoing steam.[br]Sadi was the eldest son of Lazare Carnot, who was prominent as one of Napoleon's military and civil advisers. Sadi was born in the Palais du Petit Luxembourg and grew up during the Napoleonic wars. He was tutored by his father until in 1812, at the minimum age of 16, he entered the Ecole Polytechnique to study stress analysis, mechanics, descriptive geometry and chemistry. He organized the students to fight against the allies at Vincennes in 1814. He left the Polytechnique that October and went to the Ecole du Génie at Metz as a student second lieutenant. While there, he wrote several scientific papers, but on the Restoration in 1815 he was regarded with suspicion because of the support his father had given Napoleon. In 1816, on completion of his studies, Sadi became a second lieutenant in the Metz engineering regiment and spent his time in garrison duty, drawing up plans of fortifications. He seized the chance to escape from this dull routine in 1819 through an appointment to the army general staff corps in Paris, where he took leave of absence on half pay and began further courses of study at the Sorbonne, Collège de France, Ecole des Mines and the Conservatoire des Arts et Métiers. He was inter-ested in industrial development, political economy, tax reform and the fine arts.It was not until 1821 that he began to concentrate on the steam-engine, and he soon proposed his early form of the Carnot cycle. He sought to find a general solution to cover all types of steam-engine, and reduced their operation to three basic stages: an isothermal expansion as the steam entered the cylinder; an adiabatic expansion; and an isothermal compression in the condenser. In 1824 he published his Réflexions sur la puissance motrice du feu, which was well received at the time but quickly forgotten. In it he accepted the caloric theory of heat but pointed out the impossibility of perpetual motion. His main contribution to a correct understanding of a heat engine, however, lay in his suggestion that power can be produced only where there exists a temperature difference due "not to an actual consumption of caloric but to its transportation from a warm body to a cold body". He used the analogy of a water-wheel with the water falling around its circumference. He proposed the true Carnot cycle with the addition of a final adiabatic compression in which motive power was con sumed to heat the gas to its original incoming temperature and so closed the cycle. He realized the importance of beginning with the temperature of the fire and not the steam in the boiler. These ideas were not taken up in the study of thermodynartiics until after Sadi's death when B.P.E.Clapeyron discovered his book in 1834.In 1824 Sadi was recalled to military service as a staff captain, but he resigned in 1828 to devote his time to physics and economics. He continued his work on steam-engines and began to develop a kinetic theory of heat. In 1831 he was investigating the physical properties of gases and vapours, especially the relationship between temperature and pressure. In June 1832 he contracted scarlet fever, which was followed by "brain fever". He made a partial recovery, but that August he fell victim to a cholera epidemic to which he quickly succumbed.[br]Bibliography1824, Réflexions sur la puissance motrice du feu; pub. 1960, trans. R.H.Thurston, New York: Dover Publications; pub. 1978, trans. Robert Fox, Paris (full biographical accounts are provided in the introductions of the translated editions).Further ReadingDictionary of Scientific Biography, 1971, Vol. III, New York: C.Scribner's Sons. T.I.Williams (ed.), 1969, A Biographical Dictionary of Scientists, London: A. \& C.Black.Chambers Concise Dictionary of Scientists, 1989, Cambridge.D.S.L.Cardwell, 1971, from Watt to Clausius. The Rise of Thermodynamics in the Early Industrial Age, London: Heinemann (discusses Carnot's theories of heat).RLHBiographical history of technology > Carnot, Nicolas Léonard Sadi
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122 Outram, Benjamin
[br]b. 1 April 1764 Alfreton, Englandd. 22 May 1805 London, England[br]English ironmaster and engineer of canals and tramroads, protagonist of angled plate rails in place of edge rails.[br]Outram's father was one of the principal promoters of the Cromford Canal, Derbyshire, and Benjamin Outram became Assistant to the canal's Engineer, William Jessop. In 1789 Outram was appointed Superintendent in charge of construction, and his responsibilities included the 2,978 yd (2,723 m) Butterley Tunnel; while the tunnel was being driven, coal and iron ore were encountered. Outram and a partner purchased the Butterley Hall estate above the tunnel and formed Outram \& Co. to exploit the coal and iron: a wide length of the tunnel beneath the company's furnace was linked to the surface by shafts to become in effect an underground wharf. Jessop soon joined the company, which grew and prospered to eventually become the long-lived Butterley Company.As a canal engineer, Outram's subsequent projects included the Derby, Huddersfield Narrow and Peak Forest Canals. On the Derby Canal he built a small iron aqueduct, which though designed later than the Longdon Aqueduct of Thomas Telford was opened earlier, in 1796, to become the first iron aqueduct.It is as a tramroad engineer that Outram is best known. In 1793 he completed a mile-long (1.6 km) tramroad from Outram \& Co.'s limestone quarry at Crich to the Cromford Canal, for which he used plate rails of the type recently developed by John Curr. He was, however, able to use a wider gauge—3 ft 6 in. (1.07 m) between the flanges—and larger wagons than Curr had been able to use underground in mines. It appears to have been Outram's idea to mount the rails on stone blocks, rather than wooden sleepers.Outram then engineered tramroads to extend the lines of the Derby and Peak Forest Canals. He encouraged construction of such tramroads in many parts of Britain, often as feeders of traffic to canals. He acted as Engineer, and his company often provided the rails and sometimes undertook the entire construction of a line. Foreseeing that lines would be linked together, he recommended a gauge of 4 ft 2 in. (1.27 m) between the flanges as standard, and for twenty years or so Outram's plateways, with horses or gravity as motive power, became the usual form of construction for new railways. However, experience then showed that edge rails, weight for weight, could carry greater load, and were indeed almost essential for the introduction of steam locomotives.[br]Further ReadingR.B.Schofield, 1986, "The design and construction of the Cromford Canal, 1788–1794", Transactions of the Newcomen Society 57 (provides good coverage of Outram's early career).P.J.Riden, 1973, The Butterley Company and railway construction, 1790–1830', Transport History 6(1) (covers Outram's development of tramroads).R.A.Mott, 1969, Tramroads of the eighteenth century and their originator: John Curr', Transactions of the Newcomen Society 42."Dowie" (A.R.Cowlishaw, J.H.Price and R.G.P. Tebb), 1971, The Crich Mineral Railways, Crich: Tramway Publications.PJGR -
123 Sprague, Frank Julian
[br]b. 25 July 1857 Milford, Connecticut, USAd. 25 October 1934 New York, USA[br]American electrical engineer and inventor, a leading innovator in electric propulsion systems for urban transport.[br]Graduating from the United States Naval Academy, Annapolis, in 1878, Sprague served at sea and with various shore establishments. In 1883 he resigned from the Navy and obtained employment with the Edison Company; but being convinced that the use of electricity for motive power was as important as that for illumination, in 1884 he founded the Sprague Electric Railway and Motor Company. Sprague began to develop reliable and efficient motors in large sizes, marketing 15 hp (11 kW) examples by 1885. He devised the method of collecting current by using a wooden, spring-loaded rod to press a roller against the underside of an overhead wire. The installation by Sprague in 1888 of a street tramway on a large scale in Richmond, Virginia, was to become the prototype of the universally adopted trolley system with overhead conductor and the beginning of commercial electric traction. Following the success of the Richmond tramway the company equipped sixty-seven other railways before its merger with Edison General Electric in 1890. The Sprague traction motor supported on the axle of electric streetcars and flexibly mounted to the bogie set a pattern that was widely adopted for many years.Encouraged by successful experiments with multiple-sheave electric elevators, the Sprague Elevator Company was formed and installed the first set of high-speed passenger cars in 1893–4. These effectively displaced hydraulic elevators in larger buildings. From experience with control systems for these, he developed his system of multiple-unit control for electric trains, which other engineers had considered impracticable. In Sprague's system, a master controller situated in the driver's cab operated electrically at a distance the contactors and reversers which controlled the motors distributed down the train. After years of experiment, Sprague's multiple-unit control was put into use for the first time in 1898 by the Chicago South Side Elevated Railway: within fifteen years multiple-unit operation was used worldwide.[br]Principal Honours and DistinctionsPresident, American Institute of Electrical Engineers 1892–3. Franklin Institute Elliot Cresson Medal 1904, Franklin Medal 1921. American Institute of Electrical Engineers Edison Medal 1910.Bibliography1888, "The solution of municipal rapid transit", Trans. AIEE 5:352–98. See "The multiple unit system for electric railways", Cassiers Magazine, (1899) London, repub. 1960, 439–460.1934, "Digging in “The Mines of the Motor”", Electrical Engineering 53, New York: 695–706 (a short autobiography).Further ReadingLionel Calisch, 1913, Electric Traction, London: The Locomotive Publishing Co., Ch. 6 (for a near-contemporary view of Sprague's multiple-unit control).D.C.Jackson, 1934, "Frank Julian Sprague", Scientific Monthly 57:431–41.H.C.Passer, 1952, "Frank Julian Sprague: father of electric traction", in Men of Business, ed. W. Miller, Cambridge, Mass., pp. 212–37 (a reliable account).——1953, The Electrical Manufacturers: 1875–1900, Cambridge, Mass. P.Ransome-Wallis (ed.), 1959, The Concise Encyclopaedia of World RailwayLocomotives, London: Hutchinson, p. 143..John Marshall, 1978, A Biographical Dictionary of Railway Engineers, Newton Abbot: David \& Charles.GW / PJGR -
124 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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125 foul
faul
1. прил.
1) в физическом смысле а) загрязненный, нечистый, неочищенный;
грязный, нечитаемый( о почерке, рукописи) If the way be foul so as not to be passable. ≈ Если дорога настолько грязная, что по ней не проехать. If your chimney is foul, clean it. ≈ Если у вас забит дымоход, прочистите его. Syn: dirty, soiled, muddy, miry, filthy б) мед. гнойный, загноившийся ( о ране), заразный( о болезни), разлагающийся, опухолевый, злокачественный foul bill of health foul tongue в) вонючий, омерзительный, отталкивающий( о запахе, виде) The foul smells of the place soon drove us away. ≈ Там так отвратительно воняло, что мы не могли долго там оставаться. Syn: loathsome, disgusting г) разложившийся, отравленный, нечистый ( о пище) Vulture is a foul feeder. ≈ Гриф питается падалью. Syn: coarse, gross, rank, putrid ∙ Ant: clean
2) в моральном смысле или по качеству а) бесчестный, грязный, предательский, подлый( о человеке или поступке) by fair means or foul ≈ любыми средствами Syn: abominable, detestable, wicked, disgraceful, ignominious, shameful б) гадкий, отвратительный, скверный foul journey ≈ отвратительная поездка foul dancer ≈ плохой танцор Syn: dirty в) спорт против правил, неправильный, нечестный( о приеме, судействе, игре и т.п.) foul blow Syn: unfair г) гадкий, грязный, непристойный, непотребный, нецензурный foul language foul play Syn: filthy, obscene, abusive ∙ Ant: fair
3) перен. а) противный( о ветре), бурный, ветреный, неспокойный (о море, погоде и т.п.) Syn: unfavourable, wet, stormy, contrary б) мор. покрытый ракушками и водорослями (о подводной части судна) в) мор. запутавшийся( о снастях, якорной цепи, якоре и т.п.) Ant: clear г) мор. покрытый рифами, подводными скалами, камнями (о морском дне)
2. сущ.
1) что-л., обладающее свойствами, выражаемыми foul
1. Foul befalls the man who ever lays a snare in my way! ≈ С теми, кто подкладывает мне капканы, случается нехорошее! commit a foul
2) мед. вид болезни ног у скота
3) а) спорт нарушение правил игры, фол claim a foul personal foul team foul technical foul б) столкновение( при соревнованиях на скорость, или при движении любого рода)
3. нареч.
1) не так, как обычно, против обыкновения, правила This horse trots foul. ≈ У этой лошади неровный шаг.
2) спорт нечестно, с нарушением правил (также в переносном смысле) fall foul of the law play smb. foul
4. гл.
1) а) портить(ся), загрязнять(ся), пачкать(ся), засорять(ся) (тж. foul up) The seashore is fouled up with oil from the wrecked ship. ≈ Берег загрязнен нефтью, вылившейся из танкера, потерпевшего кораблекрушение. Syn: defile б) обрастать ракушками и водорослями, загрязняться( о дне плавсредства) в) быть, становиться морально нечистоплотным, бесчестить(ся) Syn: dishonour, disgrace
2) переносно а) мор. запутывать(ся) (о такелаже, якорной цепи и т.п.) б) образовать затор, пробку в) сталкиваться с чем-л. или кем-л., врезаться в кого-л.
3) спорт нарушать правила, фолить ∙ foul out foul up to foul one's hands with smth. ≈ унизиться до чего-л. что-л. дурное, грязное и т. п. столкновение (лодок, всадников и т. п.) (спортивное) нарушение правил игры - to claim a * требовать назначения штрафа, штрафного удара и т. п. (ввиду нарушения противником правил игры) ошибка, фол > through * and fair в беде и в радости грязный, отвратительный - * hovel грязная лачуга - * linen грязное белье - * rags мерзкие /грязныеб отвратительные/ лохмотья вонючий, противный, со скверным запахом - * smell отвратительный запах засоренный, забитый - * chimney труба, забитая сажей - * pipe засоренная трубка - * sewer засорившаяся сточная труба нечистый, загрязненный - * air нечистый воздух - * water вода, засоренная нечистотами плохой, испорченный( о пище) (медицина) обложенный (о языке) подлый, бесчестный, низкий - * crime подлое /отвратительное/ преступление - * motive низменное побуждение - * rogue подлый негодяй - * deed бесчестный поступок( спортивное) не по правилам, неправильный, ошибочный - * blow запрещенный удар (бокс) ;
предательский удар - * shot штрафной бросок( в баскетболе) непристойный, непотребный - * term /expression/ непристойность, ругательство - * language /words/ сквернословие( разговорное) мерзкий, отвратительный, гадкий, скверный - * dancer отвратительный танцор - * journey отвратительная поездка - * show скверное представление /-ый спектакль/ - my cold is perfectly * у меня ужасный насморк бурный, ветреный;
мерзкий (о погоде) встречный, противный ( о ветре) неблагоприятный или опасный (для плавания) черновой;
со множеством исправлений - * copy грязный /сильно правленый/ экземпляр;
черновик - * proof грязная корректура, гранки с большой правкой запутавшийся (о снастях, якоре) - the rope is * канат запутался обросший ракушками и водорослями (о подводной части судна) (диалектизм) безобразный, непривлекательный > the * fiend /thief/ дьявол > by fair means or * любыми средствами;
всеми правдами и неправдами нечестно - to hit * нанести запрещенный удар (бокс) ;
нечестно обойтись( с кем-л.) - to play smb. * обмануть или предать кого-л. > to fall /to run/ * of (морское) столкнуться (с другим судном) ;
ссориться > she falls * of everybody она ссорится со всеми > he fell * of his employer and lost his job он повздорил с хозяином и потерял работу > to fall * of the law быть в неладах с законом (часто * up) пачкать, загрязнять - factory chimneys * up the air фабричные трубы загрязняют /отравляют/ воздух пачкаться, загрязняться портиться;
гнить, разлагаться засорять - grease often *s sink drains сточные трубы часто засоряются от жира засоряться дискредитировать, бросать тень( на кого-л.) - to * smb.'s name /reputation/ чернить кого-л., поливать кого-л. грязью мешать( движению), образовывать затор сталкиваться - the two boats *ed две лодки столкнулись запутываться( о снастях, якоре и т. п.) - the rope *ed веревка запуталась - the fishing line got *ed up in the weeds леска зацепилась за водоросли запутывать - to * a cable запутать трос обрастать ракушками и водорослями (о подводной части судна) (спортивное) нечестно играть > to * one's hands with smth. замарать руки чем-л.;
унизиться до чего-л. > it's an ill bird that *s its own nest (пословица) только худая тварь в своем гнезде гадит ~ спорт. нарушение правил игры;
to claim a foul спорт. опротествовать победу своего противника ввиду нарушения им правил игры foul (что-л.) дурное, грязное ~ бесчестный, нравственно испорченный;
подлый;
предательский;
by fair means or foul любыми средствами ~ бурный;
ветреный (о погоде) ~ разг. гадкий, отвратительный, скверный;
foul journey отвратительная поездка;
foul dancer плохой танцор ~ грязный, отвратительный, вонючий ~ загрязненный;
гнойный (о ране) ;
заразный (о болезни) ~ мор. запутанный( о снастях, якоре) ~ мор. запутывать(ся) (о снастях) ~ мор. заросший ракушками и водорослями (о подводной части судна) ~ спорт. нарушение правил игры;
to claim a foul спорт. опротествовать победу своего противника ввиду нарушения им правил игры ~ спорт. неправильный, сыгранный не по правилам;
foul blow запрещенный удар ~ непристойный, непотребный;
foul language сквернословие ~ нечестно ~ спорт. нечестно играть;
to foul one's hands (with smth.) унизиться (до чего-л.) ~ образовать затор (движения) ~ обрастать (о дне судна) ~ пачкать(ся) ;
засорять(ся) ~ противный, встречный (о ветре) ~ столкновение (при беге, верховой езде и т. п.) ~ спорт. неправильный, сыгранный не по правилам;
foul blow запрещенный удар ~ разг. гадкий, отвратительный, скверный;
foul journey отвратительная поездка;
foul dancer плохой танцор ~ разг. гадкий, отвратительный, скверный;
foul journey отвратительная поездка;
foul dancer плохой танцор ~ непристойный, непотребный;
foul language сквернословие ~ спорт. нечестно играть;
to foul one's hands (with smth.) унизиться (до чего-л.) -
126 spur
spə:
1. сущ.
1) а) шпора( на обуви) to dig, drive one's spur (into the side of a horse) ≈ вонзать, втыкать шпоры (в бока лошади) to put/set spurs to ≈ пришпоривать;
перен. подгонять, поторапливать to win one's spurs ист. ≈ заслужить звание рыцаря;
перен. добиться признания, приобрести имя spurs jingle ≈ шпоры звенят б) перен. отросток в виде шпоры (на крыле или лапе у птиц), петушиная шпора
2) а) вершина горного хребта б) отрог или уступ горы
3) толчок( к чему-л.), побуждение, стимул Syn: motive, stimulus
4) горн. ответвление жилы
5) бот. спорынья
6) ж.-д. = spur track ∙
2. гл.
1) а) пришпоривать (тж. spur up) (коня, лошадь) The horse was tired, but the rider spurred him on and reached the post first. ≈ Лошадь устала, но всадник пришпорил ее и пришел к финишу первым. б) перен. подгонять, побуждать, подстрекать( to - к чему-л.;
тж. spur up) Even a small success would spur me on to greater effort. ≈ Даже небольшая удача вдохновляет меня на усиленные действия. Syn: goad, nag, needle, sting Ant: palliate, quell, quiet, stop, subdue
2) снабжать шпорами
3) спешить, мчаться (тж. spur on, spur forward) ∙ шпора - to put /to set/ *s to one's horse пришпоривать лошадь пришпоривание, "палка", понукание - to need the * нуждаться в понукании, быть медлительным - to put /to set/ *s to smb. подгонять /поторапливать/ кого-л. - he needs the * ему нужна палка, он работает из-под палки - to him difficulties were only *s to new efforts трудности только подхлестывали его pl (историческое) шпоры как символ рыцарского достоинства - to win one's *s быть посвященным в рыцари признание, награда;
слава;
(доброе) имя - to win one's *s завоевать признание;
приобрести имя - to win one's *s back again восстановить свое доброе имя - our team hasn't won its *s yet наша команда еще не проявила себя /не показала, на что она способна/ - he won his academic *s as a holder of a chair in a uneversity он получил признание своих научных заслуг на посту заведующего кафедрой в университете стимул, пробуждение - under the * of poverty вынуждаемый бедностью отросток (на крыле или лапе у птиц;
тж. * shoot) петушиная шпора острый наконечник, шип, зуб( на альпинистской палке, обуви и т. п.) металлический наконечник, надеваемый на шпору бойцового петуха (ботаника) шпорец;
пенек( веточки) отрог (горы) (строительство) подкос, контрфорс;
буна (геология) ответвление( жилы) (железнодорожное) тупик, ветка (тж. * track) спорынья (болезнь растений) > on the * of the moment /of the occasion/ мгновенно, тут же;
экспромтом > to dish up the *s дать понять гостям, что пора уходить > to have got a * in one's head быть под мухой пришпоривать бить шпорами (о птице) побуждать, подстрекать (часто * on) - to * smb. to do smth. побуждать /поощрять/ кого-л. сделать что-л. - to * smb. on to some action толкать кого-л. на какой-л. поступок;
подстрекать кого-л. к какому-л. действию - he was *red (on) by poverty to commit a crime на преступление его толкнула нужда - *red by anger побуждаемый гневом приделывать шпоры, снабжать шпорами надевать шпоры мчаться во весь опор, спешить (тж. * on) - we were *ing onward /forward/ all night мы мчались вперед всю ночь ставить подпорку, подпирать > to * a willing horse подгонять кого-л. без всякой нужды;
подгонять и без того добросовестного работника ~ = spur track;
to need the spur быть медлительным on the ~ of the moment под влиянием минуты on the ~ of the moment экспромтом, сразу ~ шпора;
to put (или to set) spurs to пришпоривать;
перен. подгонять, поторапливать;
to win one's spurs ист. заслужить звание рыцаря spur перен. добиться признания, приобрести имя ~ = spur track;
to need the spur быть медлительным ~ вершина, отрог или уступ горы ~ горн. ответвление жилы ~ отросток (на крыле или лапе у птиц) петушиная шпора ~ побуждать, подстрекать (to - к чему-л.) ~ пришпоривать ~ снабжать шпорами ~ спешить, мчаться (тж. spur on, spur forward) ;
to spur a willing horse подгонять, понукать и без того добросовестного работника ~ бот. спорынья ~ стимул, побуждение ~ шпора;
to put (или to set) spurs to пришпоривать;
перен. подгонять, поторапливать;
to win one's spurs ист. заслужить звание рыцаря ~ спешить, мчаться (тж. spur on, spur forward) ;
to spur a willing horse подгонять, понукать и без того добросовестного работника ~ = spur track;
to need the spur быть медлительным track: spur ~ ж.-д. подъездная ветка ~ шпора;
to put (или to set) spurs to пришпоривать;
перен. подгонять, поторапливать;
to win one's spurs ист. заслужить звание рыцаря -
127 power
1. [ʹpaʋə] n1. сила; мощьthe great flood moving with majesty and power - воды катились величественно и мощно
the country was at the height of her power - страна находилась в расцвете своего могущества [ср. тж. 4, 2)]
2. 1) энергия; мощностьlifting [motive] power - подъёмная [движущая] сила
hydraulic power - гидравлическая энергия, энергия воды
emitting [ionizing] power - излучающая [ионизирующая] способность
atomic /nuclear/ power - атомная /ядерная/ энергия
power consumption - потребление энергии; расход мощности
power (is) on [off] - прибор /аппарат, агрегат, двигатель и т. п./ включён [выключен]
power cut /failure/ - отключение /прекращение подачи/ (электро)энергии
2) мощность; производительностьrated /design/ power - расчётная мощность
output power - выходная мощность, мощность на выходе
power factor - эл. коэффициент мощности; косинус фи
power augmentation - форсаж, форсировать ( двигателя)
to be on full power - тех. работать на полную мощность
3) тех. проф. двигатель; машина; силовая установкаpower feed - механическая /автоматическая/ подача
by power - механической силой, приводом от двигателя
4) энергетика3. 1) могущество, сила, властьabsolute [supreme] power - абсолютная [верховная] власть
the power of the keys см. key1 I ♢
power of pit and gallows см. pit1 I 13
to be in power - быть /находиться/ у власти
to come /to rise/ to power - прийти к власти
to take [to seize] power - взять [захватить] власть
2) обыкн. pl боги; божественные силыthe powers of darkness /of evil/ - силы тьмы; тёмные силы
merciful powers! - силы небесные!
3) юр. властьlegislative [executive, judicial] power - законодательная [исполнительная, судебная] власть
separation of powers - разделение властей (законодательной, исполнительной и судебной)
4. 1) возможностьpurchasing /buying/ power - покупательная способность
to do all /everything/ in one's power - сделать всё возможное
to be beyond /out of/ one's power - быть не под силу /не по силам/
he did it to the best /to the utmost/ of his power - он приложил максимум усилий
power of movement [of thought] - двигательная [мыслительная] способность
he is a man of varied powers - он наделён разными /многими/ способностями
at the height of one's powers - в расцвете сил [ср. тж. 1]
5. 1) право, полномочиеpower of substitution - юр. право передоверия
2) юр. доверенность (тж. power of attorney)a full power - полная /общая/ доверенность
to furnish smb. with (a) full power(s) - предоставить кому-л. полную доверенность
3) юр. дееспособность, правоспособностьpower of appointment см. appointment 6
6. державаsmall [nuclear] power - малая [ядерная] держава
maritime [colonial] power - морская [колониальная] держава
7. разг., диал. много, множество8. мат.1) степеньpower equation [series] - мат. степенное уравнение [-ой ряд]
2) порядок ( кривой)9. опт. сила увеличения; оптическая сила10. религиозный экстаз2. [ʹpaʋə] v♢
the powers that be - а) сильные мира сего, власть имущие; б) библ. власть предержащие1) приводить в действие или движение; служить приводным двигателем2) снабжать силовым двигателем3) питать (электро)энергией4) поддерживать; вдохновлять -
128 cause
ko:z
1. noun1) (something or someone that produces an effect or result: Having no money is the cause of all my misery.) causa2) (a reason for an action; a motive: You had no cause to treat your wife so badly.) razón, motivo3) (an aim or concern for which an individual or group works: cancer research and other deserving causes; in the cause of peace.) causa
2. verb(to make (something) happen; to bring about; to be the means of: What caused the accident?; He caused me to drop my suitcase.) causarcause1 n1. causa2. motivo / razóncause2 vb causar / provocartr[kɔːz]1 (origin) causa2 (reason, grounds) razón nombre femenino, motivo3 (principle, movement) causa4 SMALLLAW/SMALL causa, pleito1 causar\SMALLIDIOMATIC EXPRESSION/SMALLto cause somebody to do something hacer que alguien haga algocause n1) origin: causa f, origen m2) reason: causa f, razón f, motivo m3) lawsuit: litigio m, pleito m4) movement: causa f, movimiento mconj.• causa conj.n.• causa s.f.• causador s.m.• fundamento s.m.• lugar s.m.• materia s.f.• móvil s.m.• porqué s.m.• semilla s.f.v.• acarrear v.• brotar v.• causar v.• irrogar v.• ocasionar v.
I kɔːz1)a) c (of accident, event, death) causa fb) u (reason, grounds) motivo m, razón fthere's some cause for concern — existen motivos or razones para preocuparse
without (good) cause — sin causa (justificada) or motivo (justificado)
2) c (ideal, movement) causa fto fight/die for the cause — luchar/morir* por la causa
II
transitive verb causarto cause somebody problems — causarle or ocasionarle problemas a alguien
[kɔːz]to cause somebody/something TO + INF — hacer* que alguien/algo (+ subj)
1. N1) (=origin) causa f ; (=reason) motivo m, razón fto show cause — frm aducir argumentos convincentes
2) (=purpose) causa flost 3.3) (Jur) causa f, pleito m2.VT causar, provocar; [+ accident, trouble] causar3.CPDcause célèbre N — pleito m or caso m célebre
* * *
I [kɔːz]1)a) c (of accident, event, death) causa fb) u (reason, grounds) motivo m, razón fthere's some cause for concern — existen motivos or razones para preocuparse
without (good) cause — sin causa (justificada) or motivo (justificado)
2) c (ideal, movement) causa fto fight/die for the cause — luchar/morir* por la causa
II
transitive verb causarto cause somebody problems — causarle or ocasionarle problemas a alguien
to cause somebody/something TO + INF — hacer* que alguien/algo (+ subj)
См. также в других словарях:
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