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1 по завершении работ
Русско-английский словарь по строительству и новым строительным технологиям > по завершении работ
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2 испытания по завершении работ
Architecture: testing upon completion of works, tests upon completion of worksУниверсальный русско-английский словарь > испытания по завершении работ
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3 tezkere
"1. note, message. 2. (written) official communication, official message. 3. permit; license; certificate: ikamet tezkeresi residence permit (issued to a foreigner residing in Turkey). 4. mil. discharge certificate, discharge (given to a soldier upon completion of his obligatory military service). 5. classical Turkish lit. book containing the biographies of a number of poets as well as selections from their works. -yi almak (for a soldier) to get his discharge. -sini eline vermek /ın/ colloq. to fire, give (an employee) his walking papers." -
4 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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5 περί
περί, Thess., Delph. περ IG9(2).517.17 (iii B.C.), al., Schwyzer 323 A4 (v/iv B.C.), also [dialect] Aeol., v. infr. A. V ; Elean παρ ib.413.4: Prep. with gen., dat., and acc.:—A round about, all round (prop. different from ἀμφί, on both sides). (Cogn. with Skt. pári 'round about'.)A WITH GENITIVE,I of Place, sts. in Poets, round about, around,τετάνυστο π. σπείους ἡμερίς Od.5.68
;τείχη π. Δαρδανίας E. Tr. 818
(lyr., s.v.l.);εἴλυμα π. χροός A.R.2.1129
: rarely, like ἀμφί, on both sides, v. περιβαίνω 1 fin.II to denote the object about or for which one does something:1 with Verbs of fighting or contending, π. τινός for an object—from the notion of the thing's lying in the middle to be fought about, π. τῶνδε for these prizes, Il.23.659 ;π. πτόλιος.. μαχήσεται 18.265
; π. Πατρόκλοιο θανόντος ib. 195, cf. 17.120;π. σεῖο 3.137
;π. νηὸς ἔχον πόνον 15.416
; ἀμύνεσθαι π. πάτρης, π. νηῶν, π. τέκνων, 12.243, 142, 170, etc.; δόλους καὶ μῆτιν ὕφαινον, ὥς τε π. ψυχῆς since it was for my life, Od.9.423 ;π. ψυχῆς θέον Ἕκτορος Il.22.161
;π. ψυχέων ἐμάχοντο Od.22.245
; in Prose, τρέχειν π. ἑωυτοῦ, π. τῆς ψυχῆς, Hdt.7.57,9.37;ἀγῶνας δραμέονται π. σφέων αὐτῶν Id.8.102
;νεναυμάχηκε τὴν π. τῶν κρεῶν Ar. Ra. 191
; <τὸν> π. τοῦ παντὸς δρόμον θέοντες Hdt.8.74
; κινδυνεύειν π. τινός ibid., etc.;οὐ π. τῶν ἴσων ὁ κίνδυνός ἐστι X.HG7.1.7
; and without a Verb,π. γῆς ὅρων διαφοραί Th.1.122
;π. πάντων ἀγαθῶν ὁ ἀγών X.Cyr. 3.3.44
, cf. S.Aj. 936(lyr.), etc.;μάχη π. τινός Pl.Tht. 179d
;ἐπειγόμενοι π. νίκης Il.23.437
, cf. 639, Hdt.8.26 ;πεῖραν θανάτου π. καὶ ζωᾶς ἀναβάλλεσθαι Pi.N.9.29
;π. θανάτου φεύγειν Antipho 5.95
; but ἐρίσσαι π. μύθων contend about speaking, i. e. who can speak best, Il.15.284 ;καὶ ἀθανάτοισιν ἐρίζεσκον π. τόξων Od.8.225
, cf. 24.515.2 with words which denote care or anxiety, about, on account of,π. Τρώων.. μερμηρίζειν Il.20.17
;ἄχος π. τινός Od.21.249
;φόνου π. βουλεύειν 16.234
;φροντίζειν π. τινός Hdt.8.36
, etc.;κήδεσθαι π. τ. S.Ph. 621
;δεδιέναι π. τ. Pl.Prt. 320a
, etc.;ἀπολογεῖσθαι π. τ. X.Cyr.2.2.13
; κρίνειν, διαγιγνώσκειν π. τ., Pi.N.5.40, Antipho 5.96; π. τ. ψηφίζεσθαι, διαψηφίζεσθαι, ψῆφον φέρειν, IG12.57.42, X.HG2.3.50, Lycurg.11 ;βουλεύεσθαι π. τῆς κοινῆς σωτηρίας Isoc.5.69
;π. Μεθωναίων IG12.57.49
; διανοεῖσθαι, σκοπεῖν π. τινός, Pl.Phdr. 270d, Phd. 65e;μαντεύεσθαι π. τ. Hdt.8.36
, cf. S.Tr.77 ; π. πότου γοῦν ἐστί σοι; so with you it is a question of drink? Ar.Eq.87, cf. Plu.2.43b.3 with Verbs of hearing, knowing, speaking, etc., about, concerning,π. νόστου ἄκουσα Od.19.270
;οἶδα γὰρ εὖ π. κείνου 17.563
;π. πομπῆς μνησόμεθα 7.191
;π. πατρὸς ἐρέσθαι 1.135
, 3.77 ; π. τινὸς ἐρέειν, λέγειν, λόγον ποιήσασθαι, etc., Hdt. 1.5, S.OT 707, X.Cyr.1.6.13, etc.;λέγειν καὶ ἀκούειν π. ἑκάστου Th.4.22
, etc.;λόγος π. τινός Pl.Prt. 347b
, etc.;ἡ π. τινὸς φήμη Aeschin.1.48
; π. τινὸς ἀγγεῖλαι, κηρῦξαι, S.El. 1111, Ant. 193 ; π. τινὸς διελθεῖν, διεξελθεῖν, διηγεῖσθαι, Isoc.9.2, Pl.Plt. 274b, Euthphr.6c, etc.;παίζειν π. τινός X.Mem.1.3.8
;ἐμπειροτέρως ἔχειν π. τινός Aeschin.1.82
;νόμον γράψαι π. τινός X.HG2.3.52
, etc.;νόμῳ χρῆσθαι π. τινός S.Ant. 214
.4 of impulse or motive rather than object, ἐμαρνάσθην ἔριδος πέρι fought for very enmity, Il.7.301, cf. 16.476, 20.253.5 about, in regard to,μεμηνυμένος π. τινός Th.6.53
;οὕτως ἔσχε π. τοῦ πρήγματος τούτου Hdt.1.117
;τὰ π. τῶν Πλαταιῶν γεγενημένα Th.2.6
;τὸ π. τούτου γεγονός Plb.1.54.5
: in Prose freq. without a Verb,ἡ π. τῶν Μαντινικῶν πρᾶξις Th.6.88
; τὰ π. τινός the circumstances of.., ib.32, 8.14,26, etc. (cf. infr. C. 1.5); οὕτω δὴ καὶ π. τῶν ἀρετῶν (sc. ἔχει) Pl.Men. 72c, cf. R. 534b, 551c, etc.; π. τοῦ καταλειφθῆναι τὸν σῖτον as for reserving the corn, PMich.Zen.28.5 (iii B.C.): without the Art., ἀριθμοῦ πέρι as to number, Hdt.7.102; χρηστηρίων δὲ πέρι .. Id.2.54.III before, above, beyond, of superiority, chiefly in [dialect] Ep.,π. πάντων ἔμμεναι ἄλλων Il.1.287
;π. δ' ἄλλων φασὶ γενέσθαι 4.375
;τετιμῆσθαι π. πάντων 9.38
;ὃν π. πάσης τῖεν ὁμηλικίης 5.325
;ὃν.. π. πάντων φίλατο παίδων 20.304
;π. πάντων ἴδριες ἀνδρῶν Od.7.108
;κρατερὸς π. πάντων Il.21.566
, cf. 1.417, Od.11.216: in this sense freq. divided from its gen., π. φρένας ἔμμεναι ἄλλων in understanding to be beyond them, Il.17.171, cf. 1.258, Od.1.66 ;π. μὲν εἶδος, π. δ' ἔργα τέτυκτο τῶν ἄλλων Δαναῶν Il.17.279
;π. μὲν κρατέεις, π. δ' αἴσυλα ῥέζεις ἀνδρῶν 21.214
;π. δ' ἔγχει Ἀχαιῶν φέρτατός ἐσσι 7.289
, cf. Pi.O.6.50, Theoc. 25.119.—In this sense π. is sts. adverbial, and the gen. is absent, v. infr. E. II.IV in Hdt. and [dialect] Att. Prose, to denote value, ἡμῖν π. πολλοῦ ἐστι it is of much consequence, worth much, to us, Hdt.1. 120, cf. Antipho 6.3 ; π. πολλοῦ ποιεῖσθαί τινας to reckon them for, i.e. worth, much, Hdt.1.73, X.Mem.2.3.10, etc.; π. πλείονος, π. πλείστου ποιεῖσθαι, Id.An.7.7.44, Cyr.7.5.60 ;π. πλείστου ἡγεῖσθαι Th.2.89
;π. παντὸς ποιεῖσθαι X.Cyr.1.4.1
; π. ἐλάττονος ἡγούμενοι, π. οὐδενὸς ἡγήσασθαι, Lys.2.71,31.31.V [dialect] Aeol. περί and περ = ὑπέρ, στροῦθοι περὶ γᾶς.. δίννεντες πτέρα Sapph.1.10; περ κεφάλας prob. in Alc.93, cf. 18 ;περρ ἁπαλῶ στύματός σε πεδέρχομαι Theoc.29.25
; also Hellenistic, ὃ διέγραψε Προῖτος περί μου paid on my behalf, PCair. Zen.790.23 (iii B. C.), cf. UPZ57.12 (ii B. C.).B WITH DATIVE (in [dialect] Att. Prose mostly in signf. 11, esp. in Th.),I of Place, round about, around, of close-fitting dresses, armour, etc.,ἔνδυνε π. στήθεσσι χιτῶνα Il.10.21
;χιτῶνα π. χροῒ δῦνεν Od.15.60
;δύσετο τεύχεα καλὰ π. χροΐ Il.13.241
;ἕσσαντο π. χροῒ χαλκόν Od.24.467
;κνημῖδας.. π. κνήμῃσιν ἔθηκε Il.11.17
;βεβλήκει τελαμῶνα π. στήθεσσι 12.401
: in Prose,π. τῇσι κεφαλῇσι εἶχον τιάρας Hdt.7.61
;θώρακα π. τοῖς στέρνοις ἔχειν X.Cyr.1.2.13
; οἱ στρεπτοὶ οἱ π. τῇ δέρῃ καὶ τὰ ψέλια π. ταῖς χερσί ib.1.3.2. ;π. τῇ χειρὶ δακτύλιον ὄντα Pl.R. 359e
, etc.;χαλκὸς ἔλαμπε π. στήθεσσι Il.13.245
;χιτῶνα π. στήθεσσι δαΐξαι 2.416
;πήληξ.. κονάβησε π. κροτάφοισι 15.648
; in other relations, π. δ' ἔγχεϊ χεῖρα καμεῖται will grow weary by grasping the spear, 2.389 ;δράκων ἑλισσόμενος π. χειῇ 22.95
;κνίση ἑλισσομένη π. καπνῷ 1.317
;π. σταχύεσσιν ἐέρση 23.598
;μάρναντο π. Σκαιῇσι πύλῃσιν 18.453
: rarely in Trag.,π. βρέτει πλεχθείς A.Eu. 259
(lyr.);κεῖται νεκρὸς π. νεκρῷ S.Ant. 1240
.2 in Poets, also, around a weapon, i. e. spitted upon it, transfixed by it,π. δουρὶ πεπαρμένη Il.21.577
;ἐρεικόμενος π. δουρί 13.441
;κυλινδόμενος π. χαλκῷ 8.86
;π. δουρὶ ἤσπαιρε 13.570
;πεπτῶτα π. ξίφει S.Aj. 828
;αἷμα ἐρωήσει π. δουρί Il.1.303
.3 of a warrior standing over a dead comrade so as to defend him,ἀμφὶ δ' ἄρ' αὐτῷ βαῖν', ὥς τις π. πόρτακι μήτηρ 17.4
; ἑστήκει, ὥς τίς τε λέων π. οἷσι τέκεσσι ib. 133 ; Αἴας π. Πατρόκλῳ.. βεβήκει ib. 137, cf. 355 ;π. σκύμνοισι βεβηκώς Ar.Eq. 1039
.II of an object for or about which one struggles (cf. supr. A. 11.1),π. οἷσι μαχειόμενος κτεάτεσσι Od.17.471
;μαχήσασθαι π. δαιτί 2.245
;π. παιδὶ μάχης πόνος Il.16.568
;ἄνδρα π. ᾗ πατρίδι μαρνάμενον Tyrt.10.2
;π. τοῖς φιλτάτοις κυβεύειν Pl.Prt. 314a
;π. τῇ Σικελίᾳ ἔσται ὁ ἀγών Th.6.34
codd.;κινδυνεύειν π. αὑτῷ Antipho 5.6
.2 with Verbs denoting care, anxiety, or the opposite (cf. supr. A. 11.2),π. γὰρ δίε ποιμένι λαῶν, μή τι πάθοι Il.5.566
;ἔδεισεν δὲ π. ξανθῷ Μενελάῳ 10.240
, cf. 11.557;δεδιότες π. τῷ χωρίῳ Th.1.60
, cf. 74, 119, Ar.Eq.27;θαρρεῖν π. τῇ ἑαυτοῦ ψυχῇ Pl.Phd. 114d
, cf. Tht. 148c;π. πλέγματι γαθεῖ Theoc.1.54
.3 generally, of the cause or occasion, on account of, by reason of, ἀτύζεσθαι π. καπνῷ, v.l. for ὑπὸ καπνοῦ in Il.8.183;μὴ π. Μαρδονίῳ πταίσῃ ἡ Ἑλλάς Hdt.9.101
;π. σφίσιν αὐτοῖς πταῖσαι Th.6.33
;π. αὑτῷ σφαλῆναι Id.1.69
: in Poets, π. δείματι for fear, Pi.P.5.58 ; π. τιμᾷ in honour or praise, ib.2.59; π. τάρβει, π. φόβῳ, A.Pers. 696 (lyr.), Ch.35(lyr.);π. χάρματι h.Cer. 429
:—but π. θυμῷ is f.l. in Hdt.3.50.C WITH ACCUSATIVE,I of Place, prop. of the object round about which motion takes place, π. βόθρον ἐφοίτων came flocking round the pit, Od.11.42 ;π. νεκρὸν ἤλασαν ἵππους Il.23.13
;π. τέρματα ἵπποι τρωχῶσι 22.162
; ἄστυ πέρι.. διώκειν ib. 173, 230 ;ἐρύσας π. σῆμα 24.16
, cf. 51, etc.;π. φρένας ἤλυθ' ἰωή 10.139
;π. φρένας ἤλυθε οἶνος Od.9.362
: also of extension round, ἑστάμεναι π. τοῖχον, π. βωμόν, Il.18.374, Od.13.187, etc.;λέξασθαι π. ἄστυ Il.8.519
;μάρνασθαι π. ἄ. 6.256
, etc.;φυλάσσοντας π. μῆλα 12.303
; οἳ π. Πηνειὸν.. ναίεσκον, π. Δωδώνην.. οἰκί' ἔθεντο, 2.757, 750;σειρήν κεν π. ῥίον Οὐλύμποιο δησαίμην 8.25
, cf. Od.18.67: in Prose,ἰκριῶσαι π. τὼ ἀγάλματε IG12.371.22
;φυλακὰς δεῖ π. τὸ στρατόπεδον εἶναι X.An. 5.1.9
; π. τὴν κρήνην εὕδειν somewhere near it, Pl.Phdr. 259a, cf. X.Cyr. 1.2.9;εἶναι π. τὸν λαγώ Id.Cyn.4.4
; π. λίθον πεσών upon it, Ar.Ach. 1180; π. αὑτὰ καταρρεῖν collapse upon themselves, D.2.10;ταραχθεῖσαι [αἱ νῆες] π. ἀλλήλας Th.7.23
; πλεῦνες π. ἕνα many to one, Hdt.7.103 ; π. τὸν ἄρξαντα.. τὸ ἀδίκημά ἐστι is imputable to him who.., Antipho 4.4.2 : freq. with a Subst. only, ἡ π. Λέσβον ναυμαχία the sea-fight off Lesbos, X.HG2.3.32 ;οἱ π. τὴν Ἔφεσον Pl.Tht. 179e
;στρατηγοὶ π. Πελοπόννησον IG12.324.18
: strengthd.,π. τ' ἀμφί τε τάφρον Il.17.760
;π. τ' ἀμφί τε κύματα Hes.Th. 848
; cf. ἀμφί c. 1.2.2 of persons who are about one,ἔχειν τινὰ π. αὑτόν X.HG5.3.22
; esp. οἱ π. τινά a person's attendants, connexions, associates, or colleagues,οἱ π. τὸν Πείσανδρον πρέσβεις Th.8.63
; οἱ π. Ἡράκλειτον his school, Pl.Cra. 440c, cf. X.An.1.5.8, etc.; οἱ π. Ἀρχίαν πολέμαρχοι Archias and his colleagues, Id.HG5.4.2, cf. An.2.4.2, etc.; οἱ π. τινά so-and-so and his family, PGrenf.1.21.16 (ii B.C.), etc.; later οἱ π. τινά, periphr. for the person himself, οἱ π. Φαβρίκιον Fabricius, Plu.Pyrrh.20, cf. Tim.13, IGRom.3.883.14 (Tarsus, ii/iii A.D.); cf. ἀμφί C. 1.3.3 of the object about which one is occupied or concerned, π. δόρπα πονεῖσθαι, π. δεῖπνον πένεσθαι, Il.24.444, Od.4.624 (but π. τεύχε' ἕπουσι, tmesis for περιέπουσι, Il.15.555); later mostly εἶναι π. τι, Th.7.31, X.HG2.2.4;γενέσθαι Isoc.3.12
; π. γυναῖκας γενέσθαι Vett. Val.17.20;ὄντων ἡμῶν π. ταύτην τὴν πραγματείαν D.48.6
;διατρῖψαι π. τὴν θήραν X.Cyr.1.2.11
, etc.: less freq.ἔχειν π. τινάς Id.HG7.4.28
, Gal.15.442; in periphr. phrases, οἱ π. τὴν ποίησιν καὶ τοὺς λόγους ὄντες poets and orators, Isoc.12.35 ;οἱ π. τὴν φιλοσοφίαν ὄντες Id.9.8
; οἱ π. τὴν μουσικήν ib.4 ; οἱ π. τὰς τελετάς ministers of the mysteries, Pl.Phd. 69c ; ὁ π. τὸν ἵππον the groom, X. Eq.6.3; cf. ἀμφί C. 1.6.4 round or about a place, and so in,π. νῆσον ἀλώμενοι Od.4.368
, cf. 90;ἐμέμηκον π. σηκούς 9.439
; ἃν π. ψυχὰν γάθησεν in his heart, Pi.P.4.122 ;χρονίζειν π. Αἴγυπτον Hdt.3.61
, cf. 7.131;εὕροι ἄν τις [βασιλείας] π. τοὺς βαρβάρους Pl.R. 544d
, etc.; οἱπ. Φωκίδα τόποι Plb.5.24.12
, etc.5 about, in the case of, τὰ π. τὴν Αἴγυπτον γεγονότα, τὰ π. Μίλητον γενόμενα, Hdt.3.13, 6.26 ;εὐσεβεῖν π. θεούς Pl.Smp. 193a
;ἀσεβεῖν π. ξένους X.Cyr.5.2.10
;ἁμαρτάνειν π. τινάς Id.An.3.2.20
;ἀνήρ ἐστιν ἀγαθὸς π. τὸν δῆμον τὸν Ἀθηναίων IG12.59.10
;ἄνδρ' ἀγαθὸν ὄντα Μαραθῶνι π. τὴν πόλιν Ar.Ach. 696
;τοιαύτην γνώμην ἔχειν π. τὸν πατέρα Lys.10.21
;οὐδεμία συμφορὴ.. ἔσται.. π. οἶκον τὸν σόν Hdt.8.102
; ποιέειν or πράττειν τι π. τινά, Id.1.158, Pl.Grg. 507a;τὰ π. Πρηξάσπεα πρηχθέντα Hdt.3.76
;καινοτομεῖν π. τὰ θεῖα Pl. Euthphr.3b
;π. θεοὺς μὴ σωφρονεῖν X.Mem.1.1.20
; σπουδάζειν π. τινά promote his cause, Isoc.1.10: without a Verb,αἱ π. τοὺς παῖδας συμφοραί X.Cyr.7.2.20
;ἡ π. αὑτὸν ἐπιμέλεια Isoc.9.2
;ἡ π. ἡμᾶς ἡνιόχησις Pl.Phdr. 246b
: generally, of all relations, about, concerning, in respect of,π. μὲν τοὺς ἰχθύας οὕτως ἔχει Hdt.2.93
, cf. 8.86;πονηρὸν π. τὸ σῶμα Pl.Prt. 313d
;ἀκόλαστος π. ταῦτα Aeschin.1.42
; γελοῖος π. τὰς διατριβάς ib.126 ;ξυνηνέχθη θόρυβος π. τὸν Ἀστύοχον Th.8.84
; as to (cf. A. 11.5),π. τὸ παρὸν πάθος Pl.Tht. 179c
, cf. Phd. 65a : freq. in place of an Adj., ὄργανα ὅσα π. γεωργίαν, i.e. γεωργικά, Id.R. 370d ;οἱ νόμοι οἱ π. τοὺς γάμους Id.Cri. 50d
;αἱ π. τὰ μαθήματα ἡδοναί Id.Phlb. 51e
; also in place of a gen., οἱ π. Αυσίαν λόγοι the speeches of L., Id.Phdr. 279a; ἡ π. Φίλιππον τυραννίς the despotism of P., X.HG5.4.2 ;ἀκρασίας τῆς π. τὸν θυμόν Arist.EN 1149b19
: in Prose, to denote circumstances connected with any person or thing, τὰ π. Κῦρον, τὰ π. Ἑλένην, τὰ π. Βάττον, Hdt.1.95, 2.113, 4.154 ; τὰ π. τὸν Ἄθων the works at Mount Athos, Id.7.37; τὰ π. τὰς ναῦς naval affairs, Th.1.13; τὰ π. τὴν ναυμαχίαν (v.l. for τῆς ναυμαχίας ) the events of.., Id.8.63;τὰ π. τὸν πόλεμον Pl.R. 468a
;τὰ π. τὸ σῶμα Id.Phdr. 246d
;τὰ π. τοὺς θεούς X.Cyr.8.1.23
, etc.; cf. ἀμφί c.1.4.II of Time, π. λύχνων ἁφάς about the time of lamp-lighting, Hdt.7.215; π. μέσας νύκτας about midnight, X.An.1.7.1; π. πλήθουσαν ἀγοράν ib.2.1.7; π. ἡλίου δυσμάς ib.6.5.32 ;π. τούτους τοὺς χρόνους Th.3.89
, etc.2 of round numbers, π. ἑβδομήκοντα about seventy, Id.1.54;π. ἑπτακοσίους X.HG2.4.5
, etc.D Position: π. may follow its Subst., when it suffers anastrophe,ἄστυ πέρι Il.22.173
;ἔριδος πέρι 16.476
: most freq. with gen.,τοῦδε πράγματος πέρι A.Eu. 630
;τῶνδε βουλεύειν πέρι Id.Th. 248
, etc. (S. only once uses it before its gen., Aj. 150 (anap.)): in Prose,σφέων αὐτῶν πέρι Hdt.8.36
;σοφίας πέρι Pl.Phlb. 49a
;δικαίων τε πέρι καὶ ἀδίκων Id.Grg. 455a
, etc.; , cf. Ap. 19c.E περί abs., as ADV., around, about, also, near, by, freq. in Hom.,γέλασσε δὲ πᾶσα π. χθών Il.19.362
, al.: strengthd., round about,h.Cer.
276, cf. Call.Hec.1.1.13.II before or above others (cf. A. 111), exceedingly, only [dialect] Ep., in which case it commonly suffers anastrophe,Τυδεΐδη, πέρι μέν σε τίον Δαναοί Il.8.161
, cf. 9.53; σε χρὴ πέρι μὲν φάσθαι ἔπος ἠδ' ἐπακοῦσαι ib. 100; ;ἅ οἱ πέρι δῶκεν Ἀθήνη Od.2.116
, cf. 7.110; ;πέρι κέρδεα οἶδεν 2.88
; .2 π. does not suffer anastrophe in the [dialect] Ep. phrase π. κῆρι right heartily,π. κῆρι φίλησε Il.13.430
, etc. ( κῆρι φιλεῖν alone, 9.117);ἀπέχθωνται π. κῆρι 4.53
; π. κῆρι τιέσκετο ib.46, cf. Od.5.36, 7.69;π. κῆρι.. ἐχολώθη Il.13.206
; alsoπ. φρεσὶν ἄσπετος ἀλκή 16.157
;π. φρεσὶν αἴσιμα ᾔδη Od.14.433
;ἀλύσσοντες π. θυμῷ Il.22.70
, cf. Od.14.146;π. σθένεϊ Il.17.22
.4 περὶ κάτω bottom upwards,δῖνος π. κάτω τετραμμένος Stratt.34
, cf. Phot.;τὴν κόγχην στρέψας π. τὰ κάτω Ael.NA9.34
.F IN COMPOS. all its chief senses recur, esp.I extension in all directions as from a centre, all round, as in περιβάλλω, περιβλέπω, περιέχω.II completion of an orbit and return to the same point, about, as in περιάγω, περιβαίνω, περίειμι ( εἶμι ibo), περιέρχομαι, περιστρέφω.III a going over or beyond, above, before, as in περιβαίνω III, περιβάλλω v, περιγίγνομαι, περιεργάζομαι, περιτοξεύω.IV generally, a strengthening of the simple notion, beyond measure, very, exceedingly, as in περικαλλής, περίκηλος, περιδείδω, like Lat. per-.V the notion of double-ness which belongs to ἀμφί is found in only one poetic compd., περιδέξιος (q.v.).G PROSODY: περί never suffers elision in Il. or Od. (περ' ἰγνύσι h.Merc. 152
); once in Hes., (cf. Q.S.3.601, 11.382), v. ἰάχω fin.;περ' ἰγνύῃσι Theoc.25.242
;περ' Ἠδάλιον Inscr.Cypr. 135.27
H.; also in Pi.,περάπτων P.3.52
;περόδοις N.11.40
; ;περ' αὐτᾶς P.4.265
;ταύτας περ' ἀτλάτου πάθας O.6.38
: not in Trag. (περεβάλοντο, περεσκήνωσεν are ff. ll. in A.Ag. 1147, Eu. 634); in Com. and codd. of Prose writers only in part. of περίειμι ( εἶμι ibo) (q. v.):—π. stands before a word beginning with a vowel in Com., περὶ Ἀθηνῶν, περὶ ἐμοῦ, Ar.Eq. 1005 sq.:—[dialect] Aeol. περρ metri gr., v. A. 5. -
6 Mitchell, Charles
SUBJECT AREA: Ports and shipping[br]b. 20 May 1820 Aberdeen, Scotlandd. 22 August 1895 Jesmond, Newcastle upon Tyne, England[br]Scottish industrialist whose Tyneside shipyard was an early constituent of what became the Vickers Shipbuilding Group.[br]Mitchell's early education commenced at Ledingham's Academy, Correction Wynd, Aberdeen, and from there he became a premium apprentice at the Footdee Engineering Works of Wm Simpson \& Co. Despite being employed for around twelve hours each day, Mitchell matriculated at Marischal College (now merged with King's College to form the University of Aberdeen). He did not graduate, although in 1840 he won the chemistry prize. On the completion of his apprenticeship, like Andrew Leslie (founder of Hawthorn Leslie) and other young Aberdonians he moved to Tyneside, where most of his working life was spent. From 1842 until 1844 he worked as a draughtsman for his friend Coutts, who had a shipyard at Low Walker, before moving on to the drawing offices of Maudslay Sons and Field of London, then one of the leading shipbuilding and engineering establishments in the UK. While in London he studied languages, acquiring a skill that was to stand him in good stead in later years. In 1852 he returned to the North East and set up his own iron-ship building yard at Low Walker near Newcastle. Two years later he married Anne Swan, the sister of the two young men who were to found the company now known as Swan Hunter Ltd. The Mitchell yard grew in size and reputation and by the 1850s he was building for the Russian Navy and Merchant Marine as well as advising the Russians on their shipyards in St Petersburg. In 1867 the first informal business arrangement was concluded with Armstrongs for the supply of armaments for ships; this led to increased co-operation and ultimately in 1882 to the merger of the two shipyards as Sir W.G.Armstrong Mitchell \& Co. At the time of the merger, Mitchell had launched 450 ships in twenty-nine years. In 1886 the new company built the SS Gluckauf, the world's first bulk oil tanker. After ill health in 1865 Mitchell reduced his workload and lived for a while in Surbiton, London, but returned to Tyneside to a new house at Jesmond. In his later years he was a generous benefactor to many good causes in Tyneside and Aberdeen, to the Church and to the University of Aberdeen.[br]Further ReadingD.F.McGuire, 1988, Charles Mitchell 1820–1895, Victorian Shipbuilder, Newcastle upon Tyne: City Libraries and Arts.J.D.Scott, 1962, Vickers. A History, London: Weidenfeld \& Nicolson (a recommended overview of the Vickers Group).FMW
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