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1 recognition
recognition [‚rekəg'nɪʃən](a) (identification) reconnaissance f;∎ she disguised her voice to avoid recognition elle déguisa sa voix pour ne pas être reconnue;∎ he gave no sign of recognition il n'a pas eu l'air de me/le/ etc reconnaître;∎ the town has changed beyond or out of all recognition la ville est méconnaissable;∎ she's changed him beyond or out of all recognition elle l'a changé du tout au tout;∎ Computing optical/speech/character recognition reconnaissance f optique/de la parole/de caractères(b) (acknowledgment, thanks) reconnaissance f;∎ in recognition of en reconnaissance de∎ to win or to achieve recognition être (enfin) reconnu;∎ to seek recognition (for oneself) chercher à être reconnu;∎ his play received little recognition sa pièce est passée quasi inaperçue;∎ a composer who received no recognition during his lifetime un compositeur méconnu de son vivant;∎ public recognition la reconnaissance du public(d) (realization → of problem) reconnaissance f;∎ there is a growing recognition that this is a serious social problem de plus en plus de gens reconnaissent qu'il s'agit là d'un grave problème social;∎ the report led to the recognition that there is indeed a problem le rapport nous a amenés à reconnaître qu'il y a effectivement un problème(e) (of state, organization, trade union) reconnaissance f;∎ to withhold recognition from (government) refuser de reconnaître►► Marketing recognition score score m de reconnaissance;Marketing recognition test test m de reconnaissanceUn panorama unique de l'anglais et du français > recognition
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2 recognition
1 ( identification) reconnaissance f ; to avoid recognition pour éviter d'être reconnu ; to change/to improve out of all ou beyond recognition changer/s'améliorer jusqu'à en être méconnaissable ; they've changed the town beyond recognition ils ont rendu la ville méconnaissable ;2 ( realization) reconnaissance f (of de) ; there is a growing recognition that il devient de plus en plus apparent que ;3 gen, Pol ( acknowledgement) reconnaissance f ; to gain international recognition être reconnu mondialement ; he never got the recognition he deserved il n'a jamais été reconnu comme il le méritait ; union recognition reconnaissance officielle des syndicats ; to give state recognition to sth reconnaître qch officiellement ; to receive ou win recognition for être reconnu pour [talent, work, achievement, contribution] ; in recognition of en reconnaissance de ; -
3 recognition
[ˌrekəg'nɪʃn]1) (identification) riconoscimento m., identificazione f.2) (realization) consapevolezza f.3) (acknowledgement) riconoscimento m. (anche pol.)to receive o win recognition for ottenere un riconoscimento per [talent, work]; in recognition of — come riconoscimento per, in riconoscimento di
4) inform. (of data) riconoscimento m.* * *[-'niʃən]noun (the act or state of recognizing or being recognized: They gave the boy a medal in recognition of his courage; I said hello to him but he showed no recognition.) riconoscimento* * *[ˌrekəg'nɪʃn]1) (identification) riconoscimento m., identificazione f.2) (realization) consapevolezza f.3) (acknowledgement) riconoscimento m. (anche pol.)to receive o win recognition for ottenere un riconoscimento per [talent, work]; in recognition of — come riconoscimento per, in riconoscimento di
4) inform. (of data) riconoscimento m. -
4 recognition
- 'niʃənnoun (the act or state of recognizing or being recognized: They gave the boy a medal in recognition of his courage; I said hello to him but he showed no recognition.) reconocimientorecognition n reconocimientowith his first Oscar came international recognition con su primer Oscar llegó el reconocimiento internacionalto avoid recognition he wore a false beard para evitar que lo reconocieran llevaba una barba postizatr[rekəg'nɪʃən]1 reconocimiento\SMALLIDIOMATIC EXPRESSION/SMALLin recognition of en reconocimiento ato change beyond all recognition ser irreconociblerecognition [.rɛkɪg'nɪʃən] n: reconocimiento mn.• identificación (Teléfono) s.f.• reconocimiento s.m.'rekəg'nɪʃənmass nouna) ( identification) reconocimiento mit has changed beyond o out of all recognition — ha cambiado de tal manera que resulta irreconocible
b) (acknowledgment, acceptance) reconocimiento min recognition of — (frml) en reconocimiento a or por (frml)
[ˌrekǝɡ'nɪʃǝn]N1) (=identification, recollection) reconocimiento mhe gazed blankly at her, then recognition dawned — la miró sin comprender, entonces cayó en la cuenta de quién era
optical, speechthe bodies were mutilated beyond or out of (all) recognition — los cuerpos estaban tan mutilados que resultaba imposible reconocerlos
2) (=acknowledgement) reconocimiento mthere is a growing recognition that... — hay cada vez más gente que admite que...
the awards he won in recognition of his work — los premios que ganó en reconocimiento del trabajo realizado
* * *['rekəg'nɪʃən]mass nouna) ( identification) reconocimiento mit has changed beyond o out of all recognition — ha cambiado de tal manera que resulta irreconocible
b) (acknowledgment, acceptance) reconocimiento min recognition of — (frml) en reconocimiento a or por (frml)
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5 recognition
[ˌrekəg'nɪʃ(ə)n]n1) признание, одобрение- growing recognition
- wide recognition
- in recognition of
- win general recognition
- receive no recognition
- give recognition
- receive recognition for one's accomplishments from one's colleagues2) узнавание, приветствиеHe gave no sign of recognition. — Он и виду не подал, что узнал ее.
He changed beyond recognition. — Он изменился до неузнаваемости.
He did everything to escape/to avoid recognition. — Он все сделал, чтобы остаться не узнанным
- passing recognition- beyond recognition
- give a smile of recognition
- give no signs of recognition
- escape recognition -
6 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome.
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