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while O or O represented the sound

  • 1 Ω

    Ω, ὦ, τό, twenty-fourth and last letter of the Ionic alphabet,
    A

    ἀπὸ ἄλφα ἕως.ω. Gloss.iii 283

     (ix A. D.); thence used as a symbol of the end, the last, ἐγώ εἰμι τὸ ἄλφα καὶ τὸ ὦ (not τὸ ὦ μέγα) Apoc.1.8, al.:—as a numeral ώ = 800, but ωνυμ = 800, 000. The epichoric [dialect] Att. and other alphabets of the Inscrr. had used o in differently to represent the sounds of the later ο and ω : Ω is a differentiated form of ο, and, though usu. = ω, was used in the Ionic islands of Paros, Thasos, and Siphnos with the value ο, while O or O represented the sound ω. The name of the letter was τὸ ὦ (perispom. acc. to Hellad. ap. Phot.p.530B.), cf. Achae.33.3, Pl.Phdr. 244d, Cra. 420b, Tht. 203c: after the loss of the distinction betw. long and short vowels, ο and ω had the same pronunciation; they begin to be confused in Papyri of iii B. C. (

    οἰκωνόμου PRev.Laws 50.22

     (iii B. C.)), but the name ω μέγα appears first in later Greek, Theognost.Can. 13;

    κατὰ σχῆμα διπλοῦ ω ¯ ἤτοι μεγάλου Eust.869.26

    ;

    οἱ δὲ περὶ Ἀρίσταρχον αὐτὸ τὸ ποτήριον ω ¯ μέγα εἶναί φασιν, ὁποῖν ἴσως τὸ κατὰ δύο ῡ ἐσχηματισμένον Id.869.29

    ; ἐν τῷ ω ¯ μεγάλῳ under omega (in a lexicon), Id.1828.49:

    διὰ τοῠ ω ¯ μεγάλου Hdn.Epim. 208

    .

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

  • 2 C

    C, c, n. indecl., or f., the third letter of the Latin alphabet; corresponded originally in sound to the Greek G (which in inscrr., esp. in the Doric, was frequently written like the Latin C; v. O. Müll. Etrusk. 2, p. 295); hence the old orthography: LECIONES, MACISTRATOS, EXFOCIONT, [pu]CNANDOD, PVC[nad], CARTACINIENSI, upon the Columna rostrata, for legiones, magistratos, effugiunt, pugnando, pugnā, Carthaginiensi; and the prænomina Gaius and Gnaeus, even to the latest times, were designated by C. and Cn., while Caeso or Kaeso was written with K; cf. the letter G. Still, even as early as the time of the kings, whether through the influence of the Tuscans, among whom G sounded like K, or of the. Sabines, whose language was kindred with that of the Tuscans, the C seems to have been substituted for K; hence even Consul was designated by Cos., and K remained in use only before a, as in Kalendae; k. k. for calumniae causā, INTERKAL for intercalaris, MERK for mercatus, and in a few other republican inscrr., because by this vowel K was distinguished from Q, as in Gr. Kappa from Koppa, and in Phœnician Caph from Cuph, while C was employed like other consonants with e. Q was used at the beginning of words only when u, pronounced like v, followed, as Quirites from Cures, Tanaquil from Thanchufil, Thanchfil, ThankWil; accordingly, C everywhere took the place of Q, when that accompanying labial sound was lost, or u was used as a vowel; so in the gentile name of Maecenas Cilnius, from the Etrusk. Cvelne or Cfelne (O. Müll. Etrusk. 1, p. 414 sq.); so in coctus, cocus, alicubi, sicubi; in relicŭŭs (four syl.) for reliquus (trisyl.): AECETIA = AEQITIA, i. q. aequitas (V. AECETIA), etc., and as in the Golden Age cujus was written for quojus, and cui for quoi (corresponding to cum for quom); thus, even in the most ancient period, quor or cur was used together with [p. 257] quare, cura with quaero, curia with Quiris, as inversely inquilinus with incola, and in S. C. Bacch. OQVOLTOD = occulto. Hence, at the end of words que, as well as ce in hic, sic, istic, illic, was changed to c, as in ac for atque, nec for neque, nunc, tunc, donec for numque, tumque, dumque; and in the middle of words it might also pass into g. as in negotium and neglego, cf. necopinus. Since C thus gradually took the place of K and Q, with the single exception that our kw was throughout designated by qu, it was strange that under the emperors grammarians began again to write k instead of c before a, though even Quint. 1, 7, 10, expressed his displeasure at this; and they afterwards wrote q before u, even when no labial sound followed, as in pequnia, or merely peqnia, for pecunia; cf. the letters Q and U. About the beginning of the sixth century of the city the modified form G was introduced for the flat guttural sound, and C thenceforth regularly represented the hard sound = our K. The use of aspirates was unknown to the Romans during the first six centuries, hence the letter C also represents the Gr. X, as BACA and BACANALIBVS, for Baccha and Bacchanalibus (the single C instead of the double, as regularly in the most ancient times); cf. also schizô with scindo, and poluchroos with pulcer. But even in the time of Cicero scheda came into use for scida, and pulcher for pulcer; so also the name of the Gracchi was aspirated, as were the name Cethegus and the word triumphus, which, however, in the song of the Arval brothers, is TRIVMPVS; cf. Cic. Or. 48, 160, and the letter P. About this time the use of aspirates became so common, in imitation of Greek, that Catullus wrote upon it an epigram (84), which begins with the words: Cho mmoda dicebat, si quando commoda vellet; and in Monum. Ancyr. inchoo is used for the orig. incoho, acc. to which the ancient Romans also employed cohors for chors (v. cohors).On account of the near relationship of c and g, as given above, they are very often interchanged, esp. when connected with liquids: Cygnus, Progne, Gnidus, Gnossus, from kuknos, Proknê, Knidos, Knôssos (even when n was separated from c by a vowel, as in Saguntum for Zakunthos, or absorbed by an s, as in vigesimus and trigesimus for vicensimus and tricensimus); mulgeo for mulceo, segmen from seco, gummi for commi (kommi); gurgulio for curculio, grabatus for krabatos, so that amurca was also written for amurga, from amorgê, as inversely conger for gonger, from gongros; but also with other letters; cf. mastruca and mastruga, misceo and misgô, mugio and mukaomai, gobius and kôbios, gubernator and kubernêtês. Not less freq. is the interchange of c and t, which is noticed by Quint. Inst. 1, 11, 5, and in accordance with which, in composition, d or t before qu, except with que, became c, as acquiro, nequicquam, iccirco for idcirco, ecquis for etquis, etc. Hence is explained the rejection of c before t, as in Lutatius for Luctatius, and the arbitrariness with which many names were written with cc or tt for ct, as Vettones for Vectones; Nacca or Natta for Nacta (from the Gr. gnaptô). It would be erroneouś to infer, from the varied orthography of the names' Accius, Attius, and Actius, or Peccius, Pettius, and Pectius, a hissing pronunciation of them; for as the Romans interchange the terminations icius and itius, and the orthography fetialis and fecialis, indutiae and induciae, with one another, they also wrote Basculi or Bastuli, anclare or antlare, etc. Ci for ti does not appear till an African inscr. of the third century after Christ, and not often before Gallic inscrr. and documents of the seventh century; ti for ci is not certainly found before the end of the fourth century; and ci before a vowel does not appear to have been pronounced as sh, except provincially, before the sixth or seventh century; cf. Roby, Gr. bk. 1, ch. 7; and so in gen., Corss. Ausspr. I. p. 33 sqq. C is sometimes interchanged with p: columba, palumbes; coquus, popa, popina (cf. in Gr. koteros; Sanscr. katara; poteros; Lat. uter). C is sometimes dropped in the middle of a word: luna for luc-na, lumen for luc-men; so also at the beginning of a word: uter for cuter; Sanscr. katara, v. supra.As an abbreviation, C designates Gaius, and reversed, O, Gaia; cf. Quint. 1, 7, 28. As a numeral, C = centum, and upon voting tablets = condemno, Ascon. Cic. Div. in Caecil. 7, 24; cf. the letter A fin.;

    hence it is called littera tristis (opp. A = absolvo, which is called littera salutaris),

    Cic. Mil. 6, 15 Moeb.

    Lewis & Short latin dictionary > C

  • 3 c

    C, c, n. indecl., or f., the third letter of the Latin alphabet; corresponded originally in sound to the Greek G (which in inscrr., esp. in the Doric, was frequently written like the Latin C; v. O. Müll. Etrusk. 2, p. 295); hence the old orthography: LECIONES, MACISTRATOS, EXFOCIONT, [pu]CNANDOD, PVC[nad], CARTACINIENSI, upon the Columna rostrata, for legiones, magistratos, effugiunt, pugnando, pugnā, Carthaginiensi; and the prænomina Gaius and Gnaeus, even to the latest times, were designated by C. and Cn., while Caeso or Kaeso was written with K; cf. the letter G. Still, even as early as the time of the kings, whether through the influence of the Tuscans, among whom G sounded like K, or of the. Sabines, whose language was kindred with that of the Tuscans, the C seems to have been substituted for K; hence even Consul was designated by Cos., and K remained in use only before a, as in Kalendae; k. k. for calumniae causā, INTERKAL for intercalaris, MERK for mercatus, and in a few other republican inscrr., because by this vowel K was distinguished from Q, as in Gr. Kappa from Koppa, and in Phœnician Caph from Cuph, while C was employed like other consonants with e. Q was used at the beginning of words only when u, pronounced like v, followed, as Quirites from Cures, Tanaquil from Thanchufil, Thanchfil, ThankWil; accordingly, C everywhere took the place of Q, when that accompanying labial sound was lost, or u was used as a vowel; so in the gentile name of Maecenas Cilnius, from the Etrusk. Cvelne or Cfelne (O. Müll. Etrusk. 1, p. 414 sq.); so in coctus, cocus, alicubi, sicubi; in relicŭŭs (four syl.) for reliquus (trisyl.): AECETIA = AEQITIA, i. q. aequitas (V. AECETIA), etc., and as in the Golden Age cujus was written for quojus, and cui for quoi (corresponding to cum for quom); thus, even in the most ancient period, quor or cur was used together with [p. 257] quare, cura with quaero, curia with Quiris, as inversely inquilinus with incola, and in S. C. Bacch. OQVOLTOD = occulto. Hence, at the end of words que, as well as ce in hic, sic, istic, illic, was changed to c, as in ac for atque, nec for neque, nunc, tunc, donec for numque, tumque, dumque; and in the middle of words it might also pass into g. as in negotium and neglego, cf. necopinus. Since C thus gradually took the place of K and Q, with the single exception that our kw was throughout designated by qu, it was strange that under the emperors grammarians began again to write k instead of c before a, though even Quint. 1, 7, 10, expressed his displeasure at this; and they afterwards wrote q before u, even when no labial sound followed, as in pequnia, or merely peqnia, for pecunia; cf. the letters Q and U. About the beginning of the sixth century of the city the modified form G was introduced for the flat guttural sound, and C thenceforth regularly represented the hard sound = our K. The use of aspirates was unknown to the Romans during the first six centuries, hence the letter C also represents the Gr. X, as BACA and BACANALIBVS, for Baccha and Bacchanalibus (the single C instead of the double, as regularly in the most ancient times); cf. also schizô with scindo, and poluchroos with pulcer. But even in the time of Cicero scheda came into use for scida, and pulcher for pulcer; so also the name of the Gracchi was aspirated, as were the name Cethegus and the word triumphus, which, however, in the song of the Arval brothers, is TRIVMPVS; cf. Cic. Or. 48, 160, and the letter P. About this time the use of aspirates became so common, in imitation of Greek, that Catullus wrote upon it an epigram (84), which begins with the words: Cho mmoda dicebat, si quando commoda vellet; and in Monum. Ancyr. inchoo is used for the orig. incoho, acc. to which the ancient Romans also employed cohors for chors (v. cohors).On account of the near relationship of c and g, as given above, they are very often interchanged, esp. when connected with liquids: Cygnus, Progne, Gnidus, Gnossus, from kuknos, Proknê, Knidos, Knôssos (even when n was separated from c by a vowel, as in Saguntum for Zakunthos, or absorbed by an s, as in vigesimus and trigesimus for vicensimus and tricensimus); mulgeo for mulceo, segmen from seco, gummi for commi (kommi); gurgulio for curculio, grabatus for krabatos, so that amurca was also written for amurga, from amorgê, as inversely conger for gonger, from gongros; but also with other letters; cf. mastruca and mastruga, misceo and misgô, mugio and mukaomai, gobius and kôbios, gubernator and kubernêtês. Not less freq. is the interchange of c and t, which is noticed by Quint. Inst. 1, 11, 5, and in accordance with which, in composition, d or t before qu, except with que, became c, as acquiro, nequicquam, iccirco for idcirco, ecquis for etquis, etc. Hence is explained the rejection of c before t, as in Lutatius for Luctatius, and the arbitrariness with which many names were written with cc or tt for ct, as Vettones for Vectones; Nacca or Natta for Nacta (from the Gr. gnaptô). It would be erroneouś to infer, from the varied orthography of the names' Accius, Attius, and Actius, or Peccius, Pettius, and Pectius, a hissing pronunciation of them; for as the Romans interchange the terminations icius and itius, and the orthography fetialis and fecialis, indutiae and induciae, with one another, they also wrote Basculi or Bastuli, anclare or antlare, etc. Ci for ti does not appear till an African inscr. of the third century after Christ, and not often before Gallic inscrr. and documents of the seventh century; ti for ci is not certainly found before the end of the fourth century; and ci before a vowel does not appear to have been pronounced as sh, except provincially, before the sixth or seventh century; cf. Roby, Gr. bk. 1, ch. 7; and so in gen., Corss. Ausspr. I. p. 33 sqq. C is sometimes interchanged with p: columba, palumbes; coquus, popa, popina (cf. in Gr. koteros; Sanscr. katara; poteros; Lat. uter). C is sometimes dropped in the middle of a word: luna for luc-na, lumen for luc-men; so also at the beginning of a word: uter for cuter; Sanscr. katara, v. supra.As an abbreviation, C designates Gaius, and reversed, O, Gaia; cf. Quint. 1, 7, 28. As a numeral, C = centum, and upon voting tablets = condemno, Ascon. Cic. Div. in Caecil. 7, 24; cf. the letter A fin.;

    hence it is called littera tristis (opp. A = absolvo, which is called littera salutaris),

    Cic. Mil. 6, 15 Moeb.

    Lewis & Short latin dictionary > c

  • 4 firme

    adj.
    1 firm.
    2 solid.
    3 resolute.
    ¡firmes! (military) attention!
    4 single-minded, firm.
    5 secure, strong, firm.
    adv.
    hard.
    mantenerse firme en to hold fast to
    se mantuvo firme en su actitud he refused to give way, he stood his ground
    m.
    road surface.
    pres.subj.
    3rd person singular (él/ella/ello) Present Subjunctive of Spanish verb: firmar.
    * * *
    1 (estable) firm, steady
    2 (color) fast
    1 (pavimento) road surface
    1 hard
    \
    de firme hard
    en firme firm
    estar en lo firme to be in the right
    ¡firmes! MILITAR attention!
    mantenerse firme figurado to hold one's ground
    * * *
    adj.
    1) firm
    * * *
    1. ADJ
    1) [mesa, andamio] steady; [terreno] firm, solid
    2) [paso] firm, steady; [voz] firm; [mercado, moneda] steady; [candidato] strong
    3) [amistad, apoyo] firm, strong; [decisión, convicción] firm

    estar en lo firme — † to be in the right

    4) [sentencia] final
    5) (Mil)

    ¡firmes! — attention!

    ponerse firmes — to come o stand to attention

    2.
    ADV hard
    3.
    SM (Aut) road surface

    firme del suelo — (Arquit) rubble base (of floor)

    * * *
    I
    1)
    a) <escalera/silla/mesa> steady

    pisar terreno firme — to be on safe o firm o solid ground

    con paso/pulso firme — with a firm step/steady hand

    de firme — <estudiar/trabajar> hard

    b) ( color) fast
    c) < candidato> strong
    2) (Mil)

    en posición de firmes — standing at o (BrE) to attention

    3)
    a) < persona> firm

    se mantuvo firme — (ante las presiones, el enemigo) she stood her ground

    me mantuve firme en mi postura/idea — I stuck o kept to my position/idea

    b) (delante del n) <creencia/convicción> firm
    II
    masculino road surface
    * * *
    = firm [firmer -comp., firmest -sup.], powerful, sound [sounder -comp., soundest -sup.], strong [stronger -comp., strongest -sup.], uncompromising, steadfast, assertive, adamant, taut [tauter -comp., tautest -sup.], tight [tighter -comp., tightest -sup.], uncompromised, staunch [stanch, -USA], rock solid, unswerving, toned.
    Ex. Full consideration of the above factors should form a firm basis for the design of an effective thesaurus or list of subject headings.
    Ex. Because DOBIS/LIBIS integrates the authority files into the cataloguing process, it provides a unique and very powerful authority file facility.
    Ex. Thus the scheme has a sound organisational backing.
    Ex. In fact, the 1979 index figures show a strong contrast between the hardback and paperback turnovers, with the hardback market being down and the paperback market up.
    Ex. What precipitated that furor was that Panizzi's volume represented a uncompromising rejection of the comfortable ideology of the finding catalog.
    Ex. He does admit, however, that 'this power is unusual, it is a gift which must be cultivated, an accomplishment which can only be acquired by vigorous and steadfast concentration'.
    Ex. I tried to say at the very outset of my remarks that there probably has not been sufficient consumer-like and assertive leverage exerted upon our chief suppliers.
    Ex. The point is that even our most adamant, conservative faculty members are slowly dribbling in and saying, 'Could you add our name to your selective dissemination of information service?'.
    Ex. While the stencil is held taut, the cylinder is slowly rotated until the bottom edge of the wax sheet can be clamped in position.
    Ex. The platen was lashed up tight to the toe of the spindle by cords which connected hooks at its four corners to another set of hooks at the four lower corners of the hose.
    Ex. The Gazette advocated uncompromised racial equality and viewed the migration as a weapon against oppression.
    Ex. This article reviews the work of Professor Kaula, the staunch crusader of librarianship in India.
    Ex. The numbers in the ad, which are quite eye-opening, are rock-solid.
    Ex. His mistaken assumption that cult heroes are supermen, and his unswerving devotion to an empirical testing of the play impose significant limitations on his account.
    Ex. If you are shorter or have very nice toned legs without veins, scars or dark hair, I say take the skirt up a few inches if you want.
    ----
    * adoptar una postura firme ante una cuestión = take + position on + issue.
    * con pie firme = sure-footed.
    * en tierra firme = on dry land.
    * mantener firme = keep + steady, hold in + line, hold + steady.
    * mantenerse firme = stand + Posesivo + ground, stick to + Posesivo + guns.
    * permanecer firm = stay in + place.
    * poco firme = tenuous, rocky [rockier -comp., rockiest -sup.].
    * ponerse firme = stand to + attention.
    * senos firmes y de punta = pert breasts.
    * sobre suelo firme = on firm footing.
    * terreno firme = safe ground, solid ground.
    * tierra firme = solid ground.
    * * *
    I
    1)
    a) <escalera/silla/mesa> steady

    pisar terreno firme — to be on safe o firm o solid ground

    con paso/pulso firme — with a firm step/steady hand

    de firme — <estudiar/trabajar> hard

    b) ( color) fast
    c) < candidato> strong
    2) (Mil)

    en posición de firmes — standing at o (BrE) to attention

    3)
    a) < persona> firm

    se mantuvo firme — (ante las presiones, el enemigo) she stood her ground

    me mantuve firme en mi postura/idea — I stuck o kept to my position/idea

    b) (delante del n) <creencia/convicción> firm
    II
    masculino road surface
    * * *
    = firm [firmer -comp., firmest -sup.], powerful, sound [sounder -comp., soundest -sup.], strong [stronger -comp., strongest -sup.], uncompromising, steadfast, assertive, adamant, taut [tauter -comp., tautest -sup.], tight [tighter -comp., tightest -sup.], uncompromised, staunch [stanch, -USA], rock solid, unswerving, toned.

    Ex: Full consideration of the above factors should form a firm basis for the design of an effective thesaurus or list of subject headings.

    Ex: Because DOBIS/LIBIS integrates the authority files into the cataloguing process, it provides a unique and very powerful authority file facility.
    Ex: Thus the scheme has a sound organisational backing.
    Ex: In fact, the 1979 index figures show a strong contrast between the hardback and paperback turnovers, with the hardback market being down and the paperback market up.
    Ex: What precipitated that furor was that Panizzi's volume represented a uncompromising rejection of the comfortable ideology of the finding catalog.
    Ex: He does admit, however, that 'this power is unusual, it is a gift which must be cultivated, an accomplishment which can only be acquired by vigorous and steadfast concentration'.
    Ex: I tried to say at the very outset of my remarks that there probably has not been sufficient consumer-like and assertive leverage exerted upon our chief suppliers.
    Ex: The point is that even our most adamant, conservative faculty members are slowly dribbling in and saying, 'Could you add our name to your selective dissemination of information service?'.
    Ex: While the stencil is held taut, the cylinder is slowly rotated until the bottom edge of the wax sheet can be clamped in position.
    Ex: The platen was lashed up tight to the toe of the spindle by cords which connected hooks at its four corners to another set of hooks at the four lower corners of the hose.
    Ex: The Gazette advocated uncompromised racial equality and viewed the migration as a weapon against oppression.
    Ex: This article reviews the work of Professor Kaula, the staunch crusader of librarianship in India.
    Ex: The numbers in the ad, which are quite eye-opening, are rock-solid.
    Ex: His mistaken assumption that cult heroes are supermen, and his unswerving devotion to an empirical testing of the play impose significant limitations on his account.
    Ex: If you are shorter or have very nice toned legs without veins, scars or dark hair, I say take the skirt up a few inches if you want.
    * adoptar una postura firme ante una cuestión = take + position on + issue.
    * con pie firme = sure-footed.
    * en tierra firme = on dry land.
    * mantener firme = keep + steady, hold in + line, hold + steady.
    * mantenerse firme = stand + Posesivo + ground, stick to + Posesivo + guns.
    * permanecer firm = stay in + place.
    * poco firme = tenuous, rocky [rockier -comp., rockiest -sup.].
    * ponerse firme = stand to + attention.
    * senos firmes y de punta = pert breasts.
    * sobre suelo firme = on firm footing.
    * terreno firme = safe ground, solid ground.
    * tierra firme = solid ground.

    * * *
    A
    1 ‹escalera/silla/mesa› steady
    edificar sobre terreno firme to build on solid ground
    tenemos que asegurarnos de que pisamos terreno firme we must make sure that we're not treading on dangerous ground
    tener las carnes firmes to have a firm body
    se acercó con paso firme he approached with a determined o firm step
    con pulso firme with a firm o steady hand
    una oferta en firme a firm offer
    un fallo a firme an enforceable o executable judgment
    de firme hard
    estudiar de firme to study hard
    2 (color) fast
    3 ‹candidato› strong
    B ( Mil):
    ¡firmes! attention!
    estaban en posición de firmes they were standing to attention
    C
    1 ‹persona› firm
    tienes que mostrarte más firme con él you have to be firmer with him
    se mantuvo firme she remained firm, she stood her ground, she did not waver
    2 ( delante del n) ‹creencia/convicción› firm
    su firme apoyo a los detenidos their firm support for the prisoners
    D ( Per fam) (excelente) excellent, brilliant ( colloq)
    road surface
    firme deslizante slippery surface
    ( Chi fam)
    la firme the truth
    te diré la firme I'll be honest with you o I'll tell you the truth
    * * *

     

    Del verbo firmar: ( conjugate firmar)

    firmé es:

    1ª persona singular (yo) pretérito indicativo

    firme es:

    1ª persona singular (yo) presente subjuntivo

    3ª persona singular (él/ella/usted) presente subjuntivo

    3ª persona singular (él/ella/usted) imperativo

    Multiple Entries:
    firmar    
    firme
    firmar ( conjugate firmar) verbo transitivo/intransitivo
    to sign
    firme adjetivo
    1 ‹escalera/silla/mesa› steady;

    con paso/pulso firme with a firm step/steady hand;
    una oferta en firme a firm offer;
    de firme ‹estudiar/trabajar› hard
    2 (Mil):
    ◊ ¡firmes! attention!

    3
    a) ‹ persona› firm;


    me mantuve firme en mi idea I stuck o kept to my idea
    b) ( delante del n) ‹creencia/convicción› firm

    firmar verbo transitivo to sign
    firme
    I adjetivo
    1 firm: se mantuvo firme ante la oposición, she stood firm against the opposition
    II m (pavimento de carretera) road surface
    III adv (con constancia) firm, firmly, hard
    IV excl Mil ¡firmes! attention!
    ♦ Locuciones: de firme, firm, hard
    en firme, definitive
    ' firme' also found in these entries:
    Spanish:
    hasta
    - inquebrantable
    - plantarse
    - pulso
    - roca
    - terrestre
    - actitud
    - enérgico
    - paso
    - postura
    - propósito
    - tierra
    English:
    adamant
    - assertive
    - deploy
    - exploit
    - fast
    - firm
    - govern
    - hard
    - hold
    - land
    - name
    - secure
    - self-assertion
    - self-assertive
    - shaky
    - shore
    - solid
    - steadfast
    - steady
    - stiff
    - stout
    - strong
    - surface
    - unsteady
    - unwavering
    - wonky
    - attention
    - decisive
    - definite
    - ground
    - intention
    - march
    - sound
    - sure
    - unbending
    - wobbly
    * * *
    ♦ adj
    1. [fuerte, sólido] firm;
    [andamio, construcción] stable; [pulso] steady; [paso] resolute;
    tiene unos principios muy firmes she has very firm principles, she's extremely principled;
    tiene la firme intención de resolver el problema she fully intends to solve the problem, she has every intention of solving the problem;
    llovió de firme durante varias horas it rained hard for several hours
    2. [argumento, base] solid;
    trabaja de firme en el nuevo proyecto she's working full-time on the new project;
    una respuesta en firme a definite answer;
    quedamos en firme para el miércoles we are definitely agreed on Wednesday;
    tenemos un acuerdo en firme para intercambiar información we have a firm agreement to exchange information
    3. [carácter, actitud] resolute;
    hay que mostrarse firme con los empleados you have to be firm with the workers;
    Fam
    poner firme a alguien to bring sb into line
    4. Mil
    ¡firmes! attention!;
    en la posición de firmes standing to attention
    ♦ nm
    road surface;
    firme en mal estado [en letrero] uneven road surface
    ♦ adv
    hard;
    mantenerse firme en to hold fast to;
    se mantuvo firme en su actitud he refused to give way, he stood his ground
    * * *
    I adj
    1 firm; ( estable) steady; ( sólido) solid;
    2 MIL
    :
    ¡ firmes! attention!;
    poner firme a alguien fig fam take a firm line with s.o.
    II m pavement, Br
    road surface
    III adv
    :
    trabajar firme work hard
    * * *
    firme adj
    1) : firm, resolute
    2) : steady, stable
    * * *
    firme1 adj
    1. (estable) steady [comp. steadier; superl. steadiest]
    2. (constante) firm
    firme2 n road surface

    Spanish-English dictionary > firme

  • 5 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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