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41 mercado de la educación
(n.) = education market, educational marketEx. While the DVD format is gaining a following among video developers, its application in the education market has advanced only very slowly.Ex. Distance learning is an emerging educational market of compelling interest to higher education.* * *(n.) = education market, educational marketEx: While the DVD format is gaining a following among video developers, its application in the education market has advanced only very slowly.
Ex: Distance learning is an emerging educational market of compelling interest to higher education. -
42 mercado educativo
(n.) = education market, educational marketEx. While the DVD format is gaining a following among video developers, its application in the education market has advanced only very slowly.Ex. Distance learning is an emerging educational market of compelling interest to higher education.* * *(n.) = education market, educational marketEx: While the DVD format is gaining a following among video developers, its application in the education market has advanced only very slowly.
Ex: Distance learning is an emerging educational market of compelling interest to higher education. -
43 nauseabundo
adj.nauseating, foul, repulsive, revolting.* * *► adjetivo1 nauseating, sickening* * *ADJ nauseating, sickening* * *- da adjetivo nauseating* * *= foul [fouler -comp., foulest -sup.], nauseous, malodourous [malodorous, -USA], reeking, putrid.Ex. Well, we non-smokers also like to put our feet up and relax, too; but we have to breathe in their foul fumes = Pues bien, a nosotros los no fumadores también nos gusta poner los pies en alto y relajarnos pero tenemos que respirar su repugnante humo.Ex. The book emphasizes the ' nauseous pendulum' that swings between reason & violence.Ex. Today's sewage nutrients, dyes and toxic or malodorous substances which can be degraded only with difficulty or very slowly.Ex. He is a modernist abandoning himself to romanticism and finding beauty in rotting corpses and reeking cities.Ex. Social conventions can influence the labeling of odors, especially those that have putrid, rancid, urinous or sweaty qualities.* * *- da adjetivo nauseating* * *= foul [fouler -comp., foulest -sup.], nauseous, malodourous [malodorous, -USA], reeking, putrid.Ex: Well, we non-smokers also like to put our feet up and relax, too; but we have to breathe in their foul fumes = Pues bien, a nosotros los no fumadores también nos gusta poner los pies en alto y relajarnos pero tenemos que respirar su repugnante humo.
Ex: The book emphasizes the ' nauseous pendulum' that swings between reason & violence.Ex: Today's sewage nutrients, dyes and toxic or malodorous substances which can be degraded only with difficulty or very slowly.Ex: He is a modernist abandoning himself to romanticism and finding beauty in rotting corpses and reeking cities.Ex: Social conventions can influence the labeling of odors, especially those that have putrid, rancid, urinous or sweaty qualities.* * *nauseabundo -danauseating* * *
nauseabundo,-a adjetivo nauseating, sickening
' nauseabundo' also found in these entries:
Spanish:
nauseabunda
English:
foul
- nauseating
- sickening
* * *nauseabundo, -a adjnauseating, sickening* * *adj nauseating* * *nauseabundo, -da adj: nauseating, sickening -
44 pestilente
adj.1 foul-smelling.2 pestilential, evil-smelling, foul-smelling, pestiferous.* * *► adjetivo1 (apestoso) stinking* * *ADJ1) (=dañino) pestilent2) (=que huele mal) smelly, foul* * ** * *= malodourous [malodorous, -USA], reeking, putrid.Ex. Today's sewage nutrients, dyes and toxic or malodorous substances which can be degraded only with difficulty or very slowly.Ex. He is a modernist abandoning himself to romanticism and finding beauty in rotting corpses and reeking cities.Ex. Social conventions can influence the labeling of odors, especially those that have putrid, rancid, urinous or sweaty qualities.* * ** * *= malodourous [malodorous, -USA], reeking, putrid.Ex: Today's sewage nutrients, dyes and toxic or malodorous substances which can be degraded only with difficulty or very slowly.
Ex: He is a modernist abandoning himself to romanticism and finding beauty in rotting corpses and reeking cities.Ex: Social conventions can influence the labeling of odors, especially those that have putrid, rancid, urinous or sweaty qualities.* * *1 ‹olor› foul* * *
pestilente adjetivo ‹ olor› foul
pestilente adjetivo foul
' pestilente' also found in these entries:
Spanish:
soltar
* * *pestilente adjfoul-smelling* * *adj foul-smelling* * *pestilente adj1) : foul, smelly2) : pestilent -
45 productor de vídeos
(n.) = video developerEx. While the DVD format is gaining a following among video developers, its application in the education market has advanced only very slowly.* * *(n.) = video developerEx: While the DVD format is gaining a following among video developers, its application in the education market has advanced only very slowly.
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46 мъкна
(влача) drag, lug, haul, tugам. разг. toteмъкна някого след себе си като ремарке be for ever trailing s.o.пак ли ми го мъкнеш? must you keep bringing him here?мъкна се drag o.s.,drag along, trail; walk/move heavily; traipseедва се мъкна (ходя бавно) walk very slowly, ( капнал съм) I can hardly walk, I'm on my last legsмъкна се след някого като ремарке be for ever trailing after s.o.мъкна се по петите/стъпките на някого trail after s.o.мъкна се с някого go about with s.o.пак се мъкне за нещо there he is again after s.th.все се мъкнат тук they're always coming here, they're hanging about/around here; they've been dropping in on us all the timeне ми е много приятно дето ми се мъкне толкова често I wish he wouldn't drop in on me so often* * *мъ̀кна,гл. ( влача) drag, lug, haul, tug; ( нося) carry (about), cart (about); амер. разг. tote; пак ли ми го мъкнеш? must you keep bringing him here?;\мъкна се drag o.’s; drag along, trail; walk/move heavily; traipse; ( капнал съм) I can hardly walk, I’m on my last legs; все се мъкнат тук they’re hanging about/around here; they’ve been dropping in on us all the time; \мъкна се по петите на някого trail after s.o.; \мъкна се с някого go about with s.o.* * *drag: Must you keep мъкнаging him here? - Пак ли ми го мъкнеш?; draggle; haul; hike; lug; trail* * *1. (влача) drag, lug, haul, tug 2. (нося) carry (about), cart (about) 3. | МЪКНА ce drag o.s.,drag along, trail;walk/move heavily;traipse 4. МЪКНА някого след себе си като ремарке be for ever trailing s.о. 5. МЪКНА се по петите/стъпките на някого trail after s. о. 6. МЪКНА се с някого go about with s. о. 7. МЪКНА се след някого като ремарке be for ever trailing after s.o. 8. ам. разг. tote 9. все се МЪКНАт тук they're always coming here, they're hanging about/around here;they've been dropping in on us all the time 10. едва се МЪКНА (ходя бавно) walk very slowly, (капнал съм) I can hardly walk, I'm on my last legs 11. не ми е много приятно дето ми се мъкне толкова често I wish he wouldn't drop in on me so often 12. пак ли ми го мъкнеш? must you keep bringing him here? 13. пак се мъкне за нещо there he is again after s.th. -
47 despacito
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48 glacier
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49 snail
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50 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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51 С-241
CO СКРИПОМ идти, протекать, делать что и т. п. coll PrepP Invar adv more often used with impfv verbs) (in refer, to an undertaking, project etc) (to progress, do sth. etc) very slowly, impeded by difficulties along the wayplod(ding) (inch(ing)) alongmeet(ing) with all kinds of difficulties with setbacks at every step (progress) painfully slowly itfs slow going (all the way).Никто не мог понять... почему одних (меньшую часть) все же выпускают из лагеря, хоть и со скрипом... а других, наоборот, загоняют в эту страшную категорию людей, оставляемых в лагере «до особого распоряжения» (Гинзбург 2). ( context transl) No one could understand...why some—the minority-were released grudgingly,.but still released, while others were consigned to the fearful category of those held in camps "pending special orders" (2a). -
52 Ч-20
ЧЕРЕЗ (В) ЧАС ПО ЧАЙНОЙ ЛОЖКЕ ЧЕРЕЗ (В) ЧАС ПО (СТОЛОВОЙ) ЛОЖКЕ all coll PrepP these forms only adv used with impfv verbs fixed WO(to do sth.) very slowly or taking an excessively long time ( usu. in refer, to an activity that can and should be done more quickly)at a snails pacedrag sth. out in dribs and drabs.Он мог бы проверить библиографию за день, а он все делает медленно - через час по чайной ложке, и кто его знает, когда закончит. Не could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done. -
53 со скрипом
• СО СКРИПОМ идти, протекать, делать что и т.п. coll[PrepP; Invar; adv; more often used with impfv verbs]=====⇒ (in refer, to an undertaking, project etc) (to progress, do sth. etc) very slowly, impeded by difficulties along the way:- plod(ding) (inch< ing>) along;- it's slow going (all the way).♦ Никто не мог понять... почему одних (меньшую часть) все же выпускают из лагеря, хоть и со скрипом... а других, наоборот, загоняют в эту страшную категорию людей, оставляемых в лагере "до особого распоряжения" (Гинзбург 2). [context transl] No one could understand...why some - the minority-were released grudgingly,.but still released; while others were consigned to the fearful category of those held in camps "pending special orders" (2a).Большой русско-английский фразеологический словарь > со скрипом
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54 в час по ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > в час по ложке
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55 в час по столовой ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > в час по столовой ложке
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56 в час по чайной ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > в час по чайной ложке
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57 в через час по чайной ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > в через час по чайной ложке
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58 через час по ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > через час по ложке
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59 через час по столовой ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > через час по столовой ложке
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60 через час по чайной ложке
[PrepP; these forms only; adv; used with impfv verbs; fixed WO]=====⇒ (to do sth.) very slowly or taking an excessively long time (usu. in refer, to an activity that can and should be done more quickly):- drag sth. out;- in dribs and drabs.♦ Он мог бы проверить библиографию за день, а он всё делает медленно - через час по чайной ложке, и кто его знает, когда закончит. He could have checked the bibliography in a day, but he is doing it slowly, in dribs and drabs, and who knows when it will be done.Большой русско-английский фразеологический словарь > через час по чайной ложке
Страницы
См. также в других словарях:
very slowly — at a extremely low rate of speed … English contemporary dictionary
very — very, much 1. The uses of very and much as intensifying adverbs are for the most part complementary. Very qualifies adjectives and adverbs (very large / very slowly), whereas much qualifies past participles that are used as adjectives (a much… … Modern English usage
very — ve|ry1 W1S1 [ˈveri] adv 1.) [+ adjective/adverb] used to emphasize an adjective, adverb, or phrase ▪ It feels very cold today. ▪ The fishing industry is very important to the area. ▪ The traffic s moving very slowly this morning. ▪ problems that… … Dictionary of contemporary English
very — 1 / veri/ adverb 1 (+ adj/adv) used to emphasize an adjective or adverb or to add force to an expression: “Can I help you with those bags?” “Thanks, that s very nice of you.” | It feels very cold up in the bedrooms. | I feel a lot better today… … Longman dictionary of contemporary English
Slowly Going the Way of the Buffalo — Infobox Album | Name = Slowly Going the Way of the Buffalo Type = Album Artist = MxPx Released = Start date|1998|6|16 Recorded = February 1998 at Robert Lang Studios, Seattle, Washington Genre = Christian punk Pop punk Length = 40:29 Label = A M … Wikipedia
A Very Special Love — Infobox Film name = A Very Special Love caption = A Very Special Love Official Poster director = Cathy Garcia Molina producer = Star Cinema VIVA Films eproducer = aproducer = writer = starring = Sarah Geronimo John Lloyd Cruz music =… … Wikipedia
Don't Rush (Take Love Slowly) — is a song recorded by K Ci JoJo. Charts Chart (1998) Peak position Netherlands (Mega Single Top 100)[1] 25 New Zealand (RIANZ)[2] 21 UK … Wikipedia
at a snail's pace — very slowly. The action moves at a snail s pace in this film, as if all the characters were asleep. Etymology: from the fact that a snail (= a small animal with a round shell) moves very slowly … New idioms dictionary
like a turtle — very slowly, at a very slow pace … English contemporary dictionary
at a snail's pace — very slowly, at an extremely slow speed … English contemporary dictionary
snail's pace — very slowly, in a sluggish rhythm … English contemporary dictionary
