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throw+into+disorder

  • 81 συνταράσσω

    A throw into confusion or disorder,

    σὺν δ' ἵππους ἐτάραξε Il.8.86

    ;

    σὺν δ' ἡμῖν δαῖτα ταρ. 1.579

    ;

    τὴν κρήνην σ. καὶ συνέχωσαν Hdt.9.49

    , cf. Arist.HA 596a1;

    σ. τὴν Ἑλλάδα Hdt.3.138

    ; τιμὰς τὰς ἐούσας ς. alter them, Id.1.59;

    σ. πόλιν E.Heracl. 378

     (lyr.), And.1.68;

    πρὸς ἀλλήλας τὰς πόλεις Aeschin.2.106

    ;

    τὸ στρατόπεδον Isoc.4.147

    ; σ. ἅπαντα confound all arguments, Ar.Nu. 1037;

    τὰ πράγματα D.24.44

    ;

    τὴν εὐπρέπειαν Id.61.12

    ;

    ἑαυτούς Epicur.Sent. 37

    ; τὰς αἰσθήσεις ib.24:—[voice] Pass., ξυντετάρακται αἰθὴρ πόντῳ air is confounded with sea, A.Pr. 1088 (anap.); to be thrown into confusion, of soldiers, Th.7.81; of social order,

    συνταράσσονται πόλεις S.Ant. 1080

    , cf. E.IT 557, X.HG3.4.7, etc.;

    ξυνταραχθέντος τοῦ βίου τῇ πόλει Th.3.84

    ; νόμοι πάντες ξυνεταράχθησαν all established customs were disturbed, Id.2.52;

    ὁ τῆς πόλεως καὶ τῶν νόμων κόσμος D.25.19

    ; of plans, to be upset, Hdt.5.65: metaph. of persons, to be confounded, troubled,

    τῷ θανάτῳ τοῦ παιδὸς συντεταραγμένος Id.1.44

    ;

    συνταραχθεὶς ὑπὸ νόσων Pl.Lg. 798a

    ; τί συντετάραξαι; Ar.Lys.7.
    II c. acc. rei, σ. πόλεμον stir up war, Plb.4.14.4, Plu.Arist.20.

    Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > συνταράσσω

  • 82 смять войска

    Универсальный русско-английский словарь > смять войска

  • 83 расстраивать

    расстроить (вн.)
    1. ( приводить в беспорядок) disorder (d.), disturb (d.); throw* into confusion (d.), unsettle (d.)
    2. ( причинять вред) shatter (d.)

    расстраивать желудок — upset* one's stomach

    3. ( причинять ущерб) ruin (d.); wreck (d.)
    4. ( мешать осуществлению) derange (d.), frustrate (d.), thwart (d.)
    5. ( огорчать) upset* (d.), put* out (d.)
    6. ( музыкальный инструмент) put* out of tune (d.), untune (d.)

    Русско-английский словарь Смирнитского > расстраивать

  • 84 лихоманити

    Українсько-англійський словник > лихоманити

  • 85 розладнувати

    = розладнати
    to disorder; ( плани) to unsettle, to derange, to disconcert; ( заподіяти шкоду) to shatter; to throw into confusion

    Українсько-англійський словник > розладнувати

  • 86 a produce dezordine (tulburări) în rândurile (armatei etc.)

    to throw the ranks into disorder.

    Română-Engleză dicționar expresii > a produce dezordine (tulburări) în rândurile (armatei etc.)

  • 87 a răsturna casa cu susul în jos

    to throw the house / the room into disorder / confusion
    to turn everything topsy-turvy / upside down.

    Română-Engleză dicționar expresii > a răsturna casa cu susul în jos

  • 88 con-vertō (-vortō）

       con-vertō (-vortō） tī, sus, ere.—     Trans, to turn round, cause to turn, turn back, reverse, direct: in infimo orbe luna convertitur: vox Herculem convertit, L.: ter se, O.: vias, V.: caeli conversa per auras, wheeled, V.: conversae acies nituntur, face to face, V.: conversis in eam partem navibus, Cs.: haec (sica) conversa est in me: conversā cuspide montem Impulit, pointed the spear and struck, V.: se in Phrygiam, N.: ad hunc se, Cs.: colla ad freta, O.: legiones ab itinere ad suam potentiam, withdraw... to reinforce, Cs.: tigna contra vim fluminis, Cs.: aspectum quo vellent.—Of an army, to wheel, turn, change the direction of: conversa signa in hostes inferre, change front and charge, Cs.: signa ad hostem converti, to face the enemy, Cs.: sese, to retreat, Cs.: conversis signis redire, L.: itinere converso, by a flank movement, Cs.: acies in fugam conversa, routed, Cs.: convorso equo, S.— Intrans, to return, turn away: ad pedites, S.: in regnum suum, S.: ad uxorem Silviam, Ta. — Fig., trans, to turn, direct, throw back: risum in iudicem: haec ad suos quaestūs: animum ad curam, L.: se ad timorem: subitam convertor in iram, O.: animos: aculeum testimoni sui: omen in ipsum, V.: se ad eos, to their support, N.: omnium ora in me convorsa esse, S.— To attract, fix, rivet, draw: volgi ora, H.: animos, L.—To change, alter, transform, turn, convert, pervert: se ex homine in beluam: tellus Induit conversa figuras, O.: rem p., to bring into disorder: animum avaritiā, S.: civitatis lingua convorsa conubio Numidarum, S.: castra castris, to change continually, Cs.: conversa numina, alienated, V.: casūs conversi, which undergo a change of form: ad salutem convorti hoc malum, T.: ludi ad funus civitatis conversi: id ad salutem, N.: Deum in hominem, T.: in classem nymphas, V.: praemia in pestem, S.: amicitiae se in graves inimicitias. —To translate: aliqua de Graecis: librum in Latinum.— Intrans, to change, turn, be changed, go over, C.: imperium in superbiam, S.: ad aliquem, to the support of: ad sapientiora, Ta.

    Latin-English dictionary > con-vertō (-vortō）

  • 89 zbrkati

    vt pf confuse, throw into confusion/disorder/chaos, disorganize, jumble, muddle, make a mess of, mess up, mix up, si screw up
    * * *
    • embroil
    • confuse
    • muddle

    Hrvatski-Engleski rječnik > zbrkati

  • 90 confundir

    • addle
    • befuddle
    • confound
    • confuse
    • dumfound
    • misdeem
    • misguide
    • mislead
    • muddle the issue
    • muddle up with
    • obscure
    • perpetuity
    • perplexed
    • put in disorder
    • throw into confusion

    Diccionario Técnico Español-Inglés > confundir

  • 91 разлаживать

    несов. - разла́живать, сов. - разла́дить; (вн.)
    1) (выводить из рабочего состояния, разрушать слаженность) derange [-'reɪ-] (d), disarrange [-'reɪ-] (d), unsettle (d); throw (d) into disorder
    2) разг. ( мешать осуществлению чего-л) thwart (d), frustrate (d)

    разла́дить чью-л сва́дьбу — thwart a marriage

    Новый большой русско-английский словарь > разлаживать

  • 92 perturbata

    per-turbo, āvi, ātum, 1, v. a., to throw into confusion or disorder, to confuse, disturb (cf.: confundo, misceo).
    I.
    Lit.:

    omnia,

    Ter. And. 3, 4, 22:

    provinciam,

    Cic. Sull. 20, 56:

    aetatum ordinem,

    id. Brut. 62, 223:

    condiciones pactionesque bellicas perjurio,

    id. Off. 3, 29, 108:

    dies intermissus aut nox interposita saepe perturbat omnia,

    id. Mur. 17, 35:

    reliquos (milites) incertis ordinibus perturbaverunt,

    Caes. B. G. 4, 32:

    aciem,

    Sall. J. 59, 3:

    domum,

    Sen. Thyest. 83.— Pass., Plin. Pan. 76, 8.—
    B.
    Transf., to mix or mingle together:

    omnia subtiliter cretā permisceas cum salibus torrefactis ac tritis et diu oleo injecto perturbes,

    Pall. 12, 18.—
    II.
    Trop., to disturb, discompose, embarrass, confound:

    mea consilia,

    Plaut. Most. 3, 1, 127:

    mentes animosque perturbat timor,

    Caes. B. G. 1, 39:

    clamore perturbari,

    Cic. Rab. Perd. 6, 18:

    animum, joined with concitare,

    id. Or. 37, 128:

    de rei publicae salute perturbari,

    id. Mil. 1, 1:

    haec te vox non perculit? non perturbavit?

    id. Verr. 2, 3, 57, § 132:

    magno animi motu perturbatus,

    id. Att. 8, 11, 1.—Hence, perturbātus, a, um, P. a.
    A.
    Troubled, disturbed, unquiet:

    mihi civitatem perturbatam vestris legibus et contionibus et deductionibus tradidistis,

    Cic. Agr. 1, 8, 23:

    perturbatissimum tempestatis genus,

    Sen. Q. N. 7, 10, 3:

    flamma quassatae rei publicae perturbatorumque temporum,

    Cic. Sest. 34, [p. 1360] 73.—
    B.
    Disturbed, embarrassed, discomposed:

    homo perturbatior metu,

    Cic. Att. 10, 14, 1:

    sane sum perturbatus cum ipsius familiaritate,

    id. ib. 1, 1, 4.— Subst.: per-turbāta, ōrum, n., confused visions, perverted truths:

    nunc onusti cibo et vino perturbata et confusa cernimus,

    Cic. Div. 1, 29, 60.— Adv.: perturbātē, confusedly, disorderly:

    ne quid perturbate, ne quid contorte dicatur,

    Cic. Inv. 1, 20, 29; id. Or. 35, 122:

    muta animalia perturbate moveri,

    Sen. Ep. 124, 19.

    Lewis & Short latin dictionary > perturbata

  • 93 perturbo

    per-turbo, āvi, ātum, 1, v. a., to throw into confusion or disorder, to confuse, disturb (cf.: confundo, misceo).
    I.
    Lit.:

    omnia,

    Ter. And. 3, 4, 22:

    provinciam,

    Cic. Sull. 20, 56:

    aetatum ordinem,

    id. Brut. 62, 223:

    condiciones pactionesque bellicas perjurio,

    id. Off. 3, 29, 108:

    dies intermissus aut nox interposita saepe perturbat omnia,

    id. Mur. 17, 35:

    reliquos (milites) incertis ordinibus perturbaverunt,

    Caes. B. G. 4, 32:

    aciem,

    Sall. J. 59, 3:

    domum,

    Sen. Thyest. 83.— Pass., Plin. Pan. 76, 8.—
    B.
    Transf., to mix or mingle together:

    omnia subtiliter cretā permisceas cum salibus torrefactis ac tritis et diu oleo injecto perturbes,

    Pall. 12, 18.—
    II.
    Trop., to disturb, discompose, embarrass, confound:

    mea consilia,

    Plaut. Most. 3, 1, 127:

    mentes animosque perturbat timor,

    Caes. B. G. 1, 39:

    clamore perturbari,

    Cic. Rab. Perd. 6, 18:

    animum, joined with concitare,

    id. Or. 37, 128:

    de rei publicae salute perturbari,

    id. Mil. 1, 1:

    haec te vox non perculit? non perturbavit?

    id. Verr. 2, 3, 57, § 132:

    magno animi motu perturbatus,

    id. Att. 8, 11, 1.—Hence, perturbātus, a, um, P. a.
    A.
    Troubled, disturbed, unquiet:

    mihi civitatem perturbatam vestris legibus et contionibus et deductionibus tradidistis,

    Cic. Agr. 1, 8, 23:

    perturbatissimum tempestatis genus,

    Sen. Q. N. 7, 10, 3:

    flamma quassatae rei publicae perturbatorumque temporum,

    Cic. Sest. 34, [p. 1360] 73.—
    B.
    Disturbed, embarrassed, discomposed:

    homo perturbatior metu,

    Cic. Att. 10, 14, 1:

    sane sum perturbatus cum ipsius familiaritate,

    id. ib. 1, 1, 4.— Subst.: per-turbāta, ōrum, n., confused visions, perverted truths:

    nunc onusti cibo et vino perturbata et confusa cernimus,

    Cic. Div. 1, 29, 60.— Adv.: perturbātē, confusedly, disorderly:

    ne quid perturbate, ne quid contorte dicatur,

    Cic. Inv. 1, 20, 29; id. Or. 35, 122:

    muta animalia perturbate moveri,

    Sen. Ep. 124, 19.

    Lewis & Short latin dictionary > perturbo

  • 94 scopa

    1.
    scōpa, ae, and plur.: scōpae, ārum (cf. on plur., Varr. L. L. 8, § 7 Müll.; 10, § 24 ib.; Quint. 1, 5, 16; Charis. p. 20 P.; 72 ib.; Diom. p. 315 ib.; sing., v. infra, B.), f. [root skap-, to support; cf.: scipio, scamnum].
    I.
    Lit., thin branches, twigs, shoots (rare), Cato, R. R. 152; Pall. 3, 24, 8; 4, 9, 12; Auct. B. Afr. 47, 5; Plin. 20, 22, 89, § 241; 22, 18, 21, § 46 al.—
    B.
    In partic.: scō-pa rēgĭa, a plant, a species of the goosefoot: Chenopodium scoparia, Linn.; Plin. 21, 6, 15, § 28; 25, 5, 19, § 44.—
    II.
    Meton., a broom, besom made of twigs (class. in plur.):

    munditias volo fieri: efferte huc scopas, etc.,

    Plaut. Stich. 2, 2, 23; 2, 2, 27; 2, 2, 51; Petr. 34, 3; Hor. S. 2, 4, 81:

    scopis mundata,

    swept, Vulg. Luc. 11, 25:

    in scopā,

    id. Isa. 14, 23.—
    b.
    Prov.: scopas dissolvere, to untie a broom, i. e. to throw any thing into disorder or confusion, Cic. Or. 71, 235;

    hence, scopae solutae, of a man in utter perplexity,

    id. Att. 7, 13, b, 6.
    2.
    scŏpa, ae, f., = skopê, a speculation, theory, Mart. Cap. 8, § 812.

    Lewis & Short latin dictionary > scopa

  • 95 scopa regia

    1.
    scōpa, ae, and plur.: scōpae, ārum (cf. on plur., Varr. L. L. 8, § 7 Müll.; 10, § 24 ib.; Quint. 1, 5, 16; Charis. p. 20 P.; 72 ib.; Diom. p. 315 ib.; sing., v. infra, B.), f. [root skap-, to support; cf.: scipio, scamnum].
    I.
    Lit., thin branches, twigs, shoots (rare), Cato, R. R. 152; Pall. 3, 24, 8; 4, 9, 12; Auct. B. Afr. 47, 5; Plin. 20, 22, 89, § 241; 22, 18, 21, § 46 al.—
    B.
    In partic.: scō-pa rēgĭa, a plant, a species of the goosefoot: Chenopodium scoparia, Linn.; Plin. 21, 6, 15, § 28; 25, 5, 19, § 44.—
    II.
    Meton., a broom, besom made of twigs (class. in plur.):

    munditias volo fieri: efferte huc scopas, etc.,

    Plaut. Stich. 2, 2, 23; 2, 2, 27; 2, 2, 51; Petr. 34, 3; Hor. S. 2, 4, 81:

    scopis mundata,

    swept, Vulg. Luc. 11, 25:

    in scopā,

    id. Isa. 14, 23.—
    b.
    Prov.: scopas dissolvere, to untie a broom, i. e. to throw any thing into disorder or confusion, Cic. Or. 71, 235;

    hence, scopae solutae, of a man in utter perplexity,

    id. Att. 7, 13, b, 6.
    2.
    scŏpa, ae, f., = skopê, a speculation, theory, Mart. Cap. 8, § 812.

    Lewis & Short latin dictionary > scopa regia

  • 96 scopae

    1.
    scōpa, ae, and plur.: scōpae, ārum (cf. on plur., Varr. L. L. 8, § 7 Müll.; 10, § 24 ib.; Quint. 1, 5, 16; Charis. p. 20 P.; 72 ib.; Diom. p. 315 ib.; sing., v. infra, B.), f. [root skap-, to support; cf.: scipio, scamnum].
    I.
    Lit., thin branches, twigs, shoots (rare), Cato, R. R. 152; Pall. 3, 24, 8; 4, 9, 12; Auct. B. Afr. 47, 5; Plin. 20, 22, 89, § 241; 22, 18, 21, § 46 al.—
    B.
    In partic.: scō-pa rēgĭa, a plant, a species of the goosefoot: Chenopodium scoparia, Linn.; Plin. 21, 6, 15, § 28; 25, 5, 19, § 44.—
    II.
    Meton., a broom, besom made of twigs (class. in plur.):

    munditias volo fieri: efferte huc scopas, etc.,

    Plaut. Stich. 2, 2, 23; 2, 2, 27; 2, 2, 51; Petr. 34, 3; Hor. S. 2, 4, 81:

    scopis mundata,

    swept, Vulg. Luc. 11, 25:

    in scopā,

    id. Isa. 14, 23.—
    b.
    Prov.: scopas dissolvere, to untie a broom, i. e. to throw any thing into disorder or confusion, Cic. Or. 71, 235;

    hence, scopae solutae, of a man in utter perplexity,

    id. Att. 7, 13, b, 6.
    2.
    scŏpa, ae, f., = skopê, a speculation, theory, Mart. Cap. 8, § 812.

    Lewis & Short latin dictionary > scopae

  • 97 κυκάω

    A stir, of one curdling milk, Il.5.903; mix, τινι with a thing,

    τυρόν τε καὶ ἄλφιτα καὶ μέλι χλωρὸν οἴνῳ.. ἐκύκα Od.10.235

    , cf. Il.11.638;

    φάρμακα κ. Hp.Ep.17

    ;

    ἅλμην κύκα τούτοισιν Ar.V. 1515

    , cf. Dsc.5.79: metaph.,

    αἰ μή τί τ' εἴπην γλῶσσ' ἐκύκα κακόν Sapph.28

    :— [voice] Med., mix for oneself, Ar. Pax 1169 (lyr.).
    II stir up,

    ἄνω τε καὶ κάτω τὸν βόρβορον Id.Eq. 866

    ;

    ἄνεμοι κ. τὸ πέλαγος Alciphr.1.10

    ; of intrigue,

    ἕτερόν τι κ. Men.Epit. 211

    : hence, throw into confusion or disorder,

    νιφάδι καὶ βροντήμασι.. κυκάτω πάντα A.Pr. 994

    ;

    κ. τὴν βουλήν Ar.Eq. 363

    ;

    τὴν Ἑλλάδα Id. Pax 270

    ; κ... πάντα καὶ ταραττέτω ib. 320, cf. Pl.Phd. 101e, Epicur.Nat.14.7, etc.: in Hom. only [voice] Pass., to be confounded, panic-stricken,

    τὼ δὲ κυκηθήτην Il.11.129

    ;

    τρὶς δὲ κυκήθησαν Τρῶες 18.229

    ;

    κυκήθησαν δέ οἱ ἵπποι 20.489

    ; of a river, to be churned up, seethe,

    πάντα δ' ὄρινε ῥέεθρα κυκώμενος 21.235

    , cf. 324; of Charybdis, Od.12.238;

    κλύδων' ἔφιππον ἐν μέσῳ κυκώμενον S.El. 733

    ; of mental disquiet,

    θυμὲ κήδεσιν κυκώμενε Archil.66

    ; ὑπ' ἀνδρὸς τοξότου κυκώμενος hustled by him, Ar.Ach. 707.

    Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > κυκάω

  • 98 Aufruhr

    m; -s, -e, meist Sg. commotion, turmoil; (Tumult) riot, tumult, fracas; (Rebellion) uprising, revolt; innerlicher: turmoil, conflict; öffentlicher Aufruhr public clamo(u)r; in Aufruhr in a state of turmoil; Menge, Volk etc.: up in arms; jemanden in Aufruhr versetzen stir s.o. up, throw ( oder plunge poet.) s.o. into turmoil
    * * *
    der Aufruhr
    (Aufstand) uprising; rebellion; riot;
    (Durcheinander) commotion; turmoil; fracas; stir
    * * *
    Auf|ruhr ['aufruːɐ]
    m -(e)s, -e
    1) (= Auflehnung) revolt, rebellion, uprising
    2) (= Bewegtheit, fig: = Erregung) tumult, turmoil

    ihr innerlicher Áúfruhr — the tumult or turmoil within her

    in Áúfruhr sein — to be in a tumult or turmoil

    in Áúfruhr geraten — to get into a state of turmoil

    jdn in Áúfruhr versetzen — to throw sb into a turmoil

    * * *
    der
    1) ((a) confused, noisy uproar: He was woken by a commotion in the street.) commotion
    2) (a state of excitement: The whole city was in a ferment.) ferment
    3) (a noisy disturbance created by a usually large group of people: The protest march developed into a riot.) riot
    5) ((an outbreak of) noise, shouting etc: The whole town was in (an) uproar after the football team's victory.) uproar
    6) (a state of wild confused movement or disorder: The crowd / His mind was in (a) turmoil.) turmoil
    * * *
    Auf·ruhr
    <-[e]s, -e>
    [ˈaufru:ɐ̯]
    m
    1. kein pl (geh: Erregung) tumult no pl, turmoil no pl; (in der Stadt/im Volk) unrest no pl, no indef art
    sein innerer \Aufruhr the turmoil within one
    in [o im] \Aufruhr sein, sich akk in [o im] \Aufruhr befinden to be in a tumult; Bevölkerung to be in a turmoil
    in \Aufruhr geraten to be thrown into a turmoil
    jdn in \Aufruhr akk versetzen to throw sb into a turmoil
    2. (Aufstand) revolt, uprising, rebellion
    einen \Aufruhr unterdrücken to crush [or put down] [or quell] a revolt [or an uprising]
    * * *
    der; Aufruhrs, Aufruhre
    1) (Rebellion) revolt; rebellion
    2) o. Pl. (Erregung) turmoil

    jemanden/etwas in Aufruhr versetzen — plunge or throw somebody/something into [a state of] turmoil

    * * *
    Aufruhr m; -s, -e, meist sg commotion, turmoil; (Tumult) riot, tumult, fracas; (Rebellion) uprising, revolt; innerlicher: turmoil, conflict;
    öffentlicher Aufruhr public clamo(u)r;
    in Aufruhr in a state of turmoil; Menge, Volk etc: up in arms;
    jemanden in Aufruhr versetzen stir sb up, throw ( oder plunge poet) sb into turmoil
    * * *
    der; Aufruhrs, Aufruhre
    1) (Rebellion) revolt; rebellion
    2) o. Pl. (Erregung) turmoil

    jemanden/etwas in Aufruhr versetzen — plunge or throw somebody/something into [a state of] turmoil

    * * *
    -en m.
    fracas n.
    insurrection n.
    riot n.
    sedition n.
    turmoil n.
    uproar n.

    Deutsch-Englisch Wörterbuch > Aufruhr

  • 99 расстройство

    с.
    1) ( нарушение порядка) disorder, disarray, discomposure [-'pəʊʒə]; (планов и т.п.) derangement [-eɪn-], frustration

    приводи́ть в расстро́йство (вн.) — throw (d) into confusion / disorder, disorder (d); (о планах и т.п.) disarrange [-eɪn-] (d)

    приходи́ть в расстро́йство (о делах и т.п.) — be in a sad condition / state

    2) ( огорчение) distressed condition; ( нечто огорчительное) distressing factor

    приводи́ть в расстро́йство (вн.) — upset (d), put out (d)

    быть в расстро́йстве разг. — feel / be upset, be put out

    одно́ расстро́йство — everything is so upsetting

    3) мед. ( нарушение функции) disorder, impairment

    расстро́йство желу́дка — stomach ['stʌmək] upset, indigestion [-sʧ-], diarrhoea [-'riːə]

    не́рвное расстро́йство — nervous disorder / breakdown

    расстро́йство ре́чи — impairment of speech, disfluency

    Новый большой русско-английский словарь > расстройство

  • 100 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 Disorder
       Even 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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См. также в других словарях:

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