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while+living

  • 1 dok sam živ

    • while living

    Serbian-English dictionary > dok sam živ

  • 2 dok smo živi

    • while living

    Serbian-English dictionary > dok smo živi

  • 3 za života

    • while living

    Serbian-English dictionary > za života

  • 4 jīvati

    while living (without earning)

    Sanskrit-English dictionary by latin letters > jīvati

  • 5 जीवत् _jīvat

    जीवत् a. (
    -न्ती f.) Living, alive.
    -Comp. -तोका a woman whose children are living.
    -पतिः f.,
    -पत्नी f. a woman whose husband is living.
    -पितृकः one whose father is alive.
    -मुक्त a. 'liberated while living', a man who, being purified by a true knowledge of the Supreme Spirit, is freed from the future birth and all ceremonial rites while yet living.
    -मुक्तिः f. final liberation in the present state of life.
    -मृत a. 'dead while alive', one who, though alive, is as good as dead and useless to the world (said of a mad man or one whose character is lost).

    Sanskrit-English dictionary > जीवत् _jīvat

  • 6 al norte del estado

    (adj.) = upstate
    Ex. While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.
    * * *
    (adj.) = upstate

    Ex: While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.

    Spanish-English dictionary > al norte del estado

  • 7 artesanía en madera

    (n.) = woodcraft
    Ex. While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.
    * * *
    (n.) = woodcraft

    Ex: While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.

    Spanish-English dictionary > artesanía en madera

  • 8 en el norte del estado

    (adj.) = upstate
    Ex. While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.
    * * *
    (adj.) = upstate

    Ex: While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.

    Spanish-English dictionary > en el norte del estado

  • 9 exposición de productos artesanales

    (n.) = craft show
    Ex. While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.
    * * *
    (n.) = craft show

    Ex: While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.

    Spanish-English dictionary > exposición de productos artesanales

  • 10 productos artesanos en madera

    (n.) = woodcraft
    Ex. While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.
    * * *
    (n.) = woodcraft

    Ex: While living in upstate New York, Mark sold his woodcraft at craft shows and flea markets.

    Spanish-English dictionary > productos artesanos en madera

  • 11 diri

    "1. alive, living. 2. vigorous, energetic, lively. 3. fresh. 4. undercooked; rare. - diri 1. alive, while alive, while living. 2. undercooked; rare. "

    Saja Türkçe - İngilizce Sözlük > diri

  • 12 hayotlik

    abstr. of hayotlikida while alive, while living

    Uzbek-English dictionary > hayotlik

  • 13 Art

       Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.
       Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).
       During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.
       In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.
       The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.
       In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.
       From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome.

    Historical dictionary of Portugal > Art

  • 14 Singer, Isaac Merritt

    [br]
    b. 27 October 1811 Pittstown, New York, USA
    d. 23 July 1875 Torquay, Devonshire, England
    [br]
    American inventor of a sewing machine, and pioneer of mass production.
    [br]
    The son of a millwright, Singer was employed as an unskilled labourer at the age of 12, but later gained wide experience as a travelling machinist. He also found employment as an actor. On 16 May 1839, while living at Lockport, Illinois, he obtained his first patent for a rock-drilling machine, but he soon squandered the money he made. Then in 1849, while at Pittsburgh, he secured a patent for a wood-and metal-carving machine that he had begun five years previously; however, a boiler explosion in the factory destroyed his machine and left him penniless.
    Near the end of 1850 Singer was engaged to redesign the Lerow \& Blodgett sewing machine at the Boston shop of Orson C.Phelps, where the machine was being repaired. He built an improved version in eleven days that was sufficiently different for him to patent on 12 August 1851. He formed a partnership with Phelps and G.B. Zieber and they began to market the invention. Singer soon purchased Phelps's interest, although Phelps continued to manufacture the machines. Then Edward Clark acquired a one-third interest and with Singer bought out Zieber. These two, with dark's flair for promotion and marketing, began to create a company which eventually would become the largest manufacturer of sewing machines exported worldwide, with subsidiary factories in England.
    However, first Singer had to defend his patent, which was challenged by an earlier Boston inventor, Elias Howe. Although after a long lawsuit Singer had to pay royalties, it was the Singer machine which eventually captured the market because it could do continuous stitching. In 1856 the Great Sewing Machine Combination, the first important pooling arrangement in American history, was formed to share the various patents so that machines could be built without infringements and manufacture could be expanded without fear of litigation. Singer contributed his monopoly on the needle-bar cam with his 1851 patent. He secured twenty additional patents, so that his original straight-needle vertical design for lock-stitching eventually included such refinements as a continuous wheel-feed, yielding presser-foot, and improved cam for moving the needle-bar. A new model, introduced in 1856, was the first to be intended solely for use in the home.
    Initially Phelps made all the machines for Singer. Then a works was established in New York where the parts were assembled by skilled workers through filing and fitting. Each machine was therefore a "one-off" but Singer machines were always advertised as the best on the market and sold at correspondingly high prices. Gradually, more specialized machine tools were acquired, but it was not until long after Singer had retired to Europe in 1863 that Clark made the change to mass production. Sales of machines numbered 810 in 1853 and 21,000 ten years later.
    [br]
    Bibliography
    12 August 1851, US patent no. 8,294 (sewing machine)
    Further Reading
    Biographies and obituaries have appeared in Appleton's Cyclopedia of America, Vol. V; Dictionary of American Biography, Vol XVII; New York Times 25 July 1875; Scientific American (1875) 33; and National Cyclopaedia of American Biography.
    D.A.Hounshell, 1984, From the American System to Mass Production 1800–1932. The
    Development of Manufacturing Technology in the United States, Baltimore (provides a thorough account of the development of the Singer sewing machine, the competition it faced from other manufacturers and production methods).
    RLH

    Biographical history of technology > Singer, Isaac Merritt

  • 15 जयत्सेनः _jayatsēnḥ

    जयत्सेनः A name assumed by Nakula while living at Virāṭa King.

    Sanskrit-English dictionary > जयत्सेनः _jayatsēnḥ

  • 16 atzerrialdi

    iz.
    1. asko ikasi nuen \atzerrialdian I learnt a lot while living in a foreign country
    2. exile; \atzerrialdian idatzitako memoriak memoirs written in exile
    3. Kristau. hemengo \atzerrialdian beteko ditu Zure aginduak I will follow Your command during my time on this earth

    Euskara Ingelesa hiztegiaren > atzerrialdi

  • 17 слишком жирно

    прост.

    Если любить всех девушек, которых я встречаю, живя под луной, то не хватит сердца, и слишком жирно... (А. Чехов, Драма на охоте) — If I loved all the girls I have met while living under the moon, my heart would not suffice; besides, it would be too much of a good thing.

    Русско-английский фразеологический словарь > слишком жирно

  • 18 Pilcher, Percy Sinclair

    SUBJECT AREA: Aerospace
    [br]
    b. 16 January 1867 Bath, England
    d. 2 October 1899 Stanford Hall, Northamptonshire, England
    [br]
    English designer and glider aeronaut.
    [br]
    He was educated at HMS Britannia Royal Naval College, Dartmouth, from 1880 to 1882. He sailed on HMS Duke of Wellington, Agincourt, Northampton and other ships and resigned from the navy on 18 April 187 after seven years at sea. In June 1887 he was apprenticed at Randolph, Elder \& Co.'s shipyard at Govan, and was then an apprentice moulder at Cairn \& Co., Glasgow. For some time he "studied" at London University (though there is no official record of his doing so) while living with his sister at Phillbeck Gardens, South Kensington. In May 1890 he was working for John H.Biles, Manager of the Southampton Naval Works Ltd. Biles was later appointed Professor of Naval Architecture at Glasgow University with Pilcher as his Assistant Lecturer. In 1895 he was building his first glider, the Bat, which was built mainly of Riga pine and weighed 44 lb (20 kg). In succeeding months he travelled to Lichterfelde to study the gliders made by the German Lilienthal and built a further three machines, the Beetle, the Gull and the Hawk. In 1896 he applied for his only aeronautical patent, for "Improved flying and soaring machines", which was accepted on March 1897. In April 1896 he resigned his position at Glasgow University to become Assistant to Sir Hiram Maxim, who was also doing experiments with flying machines at his Nordenfeld Guns and Ammunition Co. Ltd at Crayford. He took up residence in Artillery Mansions, Victoria Street, later taken over by Vickers Ltd. Maxim had a hangar at Upper Lodge Farm, Austin Eynsford, Kent: using this, Pilcher reached a height of 12 ft (3.66m) in 1899 with a cable launch. He planned to build a 2 hp (1.5 kW) petrol engine In September 1899 he went to stay with Lord Braye at Stanford Hall, Northamptonshire, where many people came to see his flying machine, a triplane. The weather was far from ideal, windy and raining, but Pilcher would not disappoint them. A bracing wire broke, the tail collapsed and the pilot crashed to the ground suffering two broken legs and concussion. He did not regain consciousness and died the following day. He was buried in Brompton Cemetery.
    [br]
    Bibliography
    1896, British patent no. 9144 "Improved flying and soaring machines".
    Further Reading
    P.Jarrett, 1987, Another Icarus. Percy Pilcher and the Quest for Flight, Washington, DC: Smithsonian Institution Press.
    A.Welch and L.Welch, 1965, The Story of Gliding, London: John Murray.
    IMcN

    Biographical history of technology > Pilcher, Percy Sinclair

  • 19 קהי

    קהי, קָהָה, קָהָא(b. h.; cmp. כָּהָה) 1) to be dull, blunt; (of a sword) to slide off a hard object. Y.Ber.IX, 13a וקָהַת החרב מעלוכ׳ and the sword slid off Moses neck and broke; Deut. R. s. 2; Yalk. Ex. 167 וקהית (corr. acc.). Gen. R. s. 78; Cant. R. to VII, 5 וקָהוּ שיניווכ׳ and the teeth of the wicked (Esau) became blunt and loose. 2) to be tough, unyielding, hard. Num. R. s. 3 (ref. to Koh. 10:10) אם ראית שקהו השמיםוכ׳, v. preced.Trnsf. to be difficult, unsolvable. Cant. R. to III, 7 שהיו כולן שונין … הלכה קוֹהָא להם they all sharpened the discussion like a sword, so that, when a case came before them, the decision might not be too difficult for them. Ib. to IV, 4 שאין הלכה קוהא להם never was there a subject too difficult for them to decide; a. e. 3) to be wearied; to faint; esp. to have a morbid appetite (caused by the smell of a dish). Ib. to I, 12 the Lord sent them a sweet scent from Eden והיתה נפשם קוהא לאכול and they were dying to eat (of the Passover sacrifice), v. עָיֵף; a. e. Hif. הִקְהָה (with שן) to make blunt and loose; trnsf. to refute; to break the power of; to grieve. Mekh. Bo, s. 18 אף אתה הַקְהֵה את שיניו thou, too, make his teeth blunt (refute his arguments). Gen. R. s. 99 (play on יקהת, Gen. 49:10) מי שמַקְהֶה שניוכ׳ he (the Messiah) that shall break the power of all nations; ib. s. 98. Sot.49a (read:) אימרים … למה הִקְהִיתָוכ׳ (v. Rashi) they (the children of the wicked that died in their parents lifetime) argue before him, … if thou intendedst to punish them in the hereafter, why didst thou cause them grief while living? Ib. שמחת … והקהית חשיני thou hast gladdened my heart (with the evidence of thy purity) and given me pain (by showing more affection for thy son than for myself). Snh.109b (play on בן קהת, Num. 16:1) בן שה׳וכ׳ a son that brought grief over his parents; a. e. Pi. קֵיהָה to pronounce unsolvable. Neg. IV, 11, v. כָּהָה. Nif. נִקְהָה 1) to become faint, powerless. Koh. R. to X, 10 אם נִקְהֵת אומהוכ׳ if the nation whose power was as hard as iron, has grown powerless. 2) to be tough, difficult. Ib. אם נ׳ תלמודךוכ׳ if thy lesson is as tough to thee as iron (v. preced). Hithpa. הִתְקָהֵא, הִתְקָהֶה; Nithpa. נִתְקָהֶה 1) to faint, long for. Yalk. Ex. 186 (ref. to מתלקחת, Ex. 9:24) מִתְקָהָא לעשות שליחותה (not שליחותיה) it (the fire) was dying to perform its mission; Pesik. Vayhi, p. 4a> מיתה מתקהאוכ׳ Ar. (ed. מתקריא, corr. acc.) dying, that is longing ; Cant. R. to III, 11 מיתה ומתקלהא בשביל לעשות רצון בוראם (corr. acc., a. read בוראה); Num. R. s. 12 (combining both versions) מיתה ומתקהלא לעשות … בוראה (corr. acc.). 2) to become tough, hard, unyielding, grievous, irksome. Koh. R. l. c. אם נִתְקָהוּ שמים שעלוכ׳ if the heavens above you have become hard as iron, v. supra. Ib. אם נתק׳ הרב על התלמידוכ׳ if the teacher has been unyielding to the pupil like iron (out of patience, and refusing to teach him) …, and the teacher shows not a friendly face (does not relent) Ib. אם נתק׳ התלמיד על הרבוכ׳ if the pupil has been annoying to his teacher (through his obtuseness or weavisome questions) …, and the teacher refuses to explain

    Jewish literature > קהי

  • 20 קהה

    קהי, קָהָה, קָהָא(b. h.; cmp. כָּהָה) 1) to be dull, blunt; (of a sword) to slide off a hard object. Y.Ber.IX, 13a וקָהַת החרב מעלוכ׳ and the sword slid off Moses neck and broke; Deut. R. s. 2; Yalk. Ex. 167 וקהית (corr. acc.). Gen. R. s. 78; Cant. R. to VII, 5 וקָהוּ שיניווכ׳ and the teeth of the wicked (Esau) became blunt and loose. 2) to be tough, unyielding, hard. Num. R. s. 3 (ref. to Koh. 10:10) אם ראית שקהו השמיםוכ׳, v. preced.Trnsf. to be difficult, unsolvable. Cant. R. to III, 7 שהיו כולן שונין … הלכה קוֹהָא להם they all sharpened the discussion like a sword, so that, when a case came before them, the decision might not be too difficult for them. Ib. to IV, 4 שאין הלכה קוהא להם never was there a subject too difficult for them to decide; a. e. 3) to be wearied; to faint; esp. to have a morbid appetite (caused by the smell of a dish). Ib. to I, 12 the Lord sent them a sweet scent from Eden והיתה נפשם קוהא לאכול and they were dying to eat (of the Passover sacrifice), v. עָיֵף; a. e. Hif. הִקְהָה (with שן) to make blunt and loose; trnsf. to refute; to break the power of; to grieve. Mekh. Bo, s. 18 אף אתה הַקְהֵה את שיניו thou, too, make his teeth blunt (refute his arguments). Gen. R. s. 99 (play on יקהת, Gen. 49:10) מי שמַקְהֶה שניוכ׳ he (the Messiah) that shall break the power of all nations; ib. s. 98. Sot.49a (read:) אימרים … למה הִקְהִיתָוכ׳ (v. Rashi) they (the children of the wicked that died in their parents lifetime) argue before him, … if thou intendedst to punish them in the hereafter, why didst thou cause them grief while living? Ib. שמחת … והקהית חשיני thou hast gladdened my heart (with the evidence of thy purity) and given me pain (by showing more affection for thy son than for myself). Snh.109b (play on בן קהת, Num. 16:1) בן שה׳וכ׳ a son that brought grief over his parents; a. e. Pi. קֵיהָה to pronounce unsolvable. Neg. IV, 11, v. כָּהָה. Nif. נִקְהָה 1) to become faint, powerless. Koh. R. to X, 10 אם נִקְהֵת אומהוכ׳ if the nation whose power was as hard as iron, has grown powerless. 2) to be tough, difficult. Ib. אם נ׳ תלמודךוכ׳ if thy lesson is as tough to thee as iron (v. preced). Hithpa. הִתְקָהֵא, הִתְקָהֶה; Nithpa. נִתְקָהֶה 1) to faint, long for. Yalk. Ex. 186 (ref. to מתלקחת, Ex. 9:24) מִתְקָהָא לעשות שליחותה (not שליחותיה) it (the fire) was dying to perform its mission; Pesik. Vayhi, p. 4a> מיתה מתקהאוכ׳ Ar. (ed. מתקריא, corr. acc.) dying, that is longing ; Cant. R. to III, 11 מיתה ומתקלהא בשביל לעשות רצון בוראם (corr. acc., a. read בוראה); Num. R. s. 12 (combining both versions) מיתה ומתקהלא לעשות … בוראה (corr. acc.). 2) to become tough, hard, unyielding, grievous, irksome. Koh. R. l. c. אם נִתְקָהוּ שמים שעלוכ׳ if the heavens above you have become hard as iron, v. supra. Ib. אם נתק׳ הרב על התלמידוכ׳ if the teacher has been unyielding to the pupil like iron (out of patience, and refusing to teach him) …, and the teacher shows not a friendly face (does not relent) Ib. אם נתק׳ התלמיד על הרבוכ׳ if the pupil has been annoying to his teacher (through his obtuseness or weavisome questions) …, and the teacher refuses to explain

    Jewish literature > קהה

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