Inglise keele KT 27.02.13 PLACE Vocabulary: 1. shorthand- kiirkiri 2. outlet- müügiturg, kaubandusettevõte, firmakauplus 3. assumption- endastmõistetavaks pidamine, eeldus 4. on the assumption- eeldusel, et.. 5. in stock- laos, tagavaraks 6. brand- tootemark 7. to sort smth.out- välja sorteerima, välja selgitama 8. retailer- jaemüüja, jaemüügiettevõte 9. a sale was lost- müüki ei toimu, müügi kadu 10. to settle- otsustama 11
4) A protest B complaint C objection D disapproval 5) A fill B serve C make D form 6) A position B place C stand D stage 4. Complete each sentence, using one of the words from the box. fiction illiterate literature outline shorthand gist illegible manuscript prose unprintable a) The first chapter is based on fact, but the rest of the book is complete ..fiction.. b) David was unable to read the postcard because the writing was …….. c) I understood the ……..of the article, but I didn't read it in detail. d) Brenda's comments were so insulting they were …….. e) Bill had decided to study French…….. at university. f) I managed to make notes of the speech in ……..
M5) Second Timed model seletus (M1 reached when SelectNext occurs at time 0 in M0; M2 reached when SendPacket occurs at time 0 in M1; M3 where an acknowledgement arrives at time 94; M4 reached when ReceiveAck occurs at time 94 in M3; M2 reached when StopTimer occurs at time 101 in M3; When a time delay inscription is used on a double-headed arc in a timed CPN model, it is a shorthand for an arc in both directions with the same arc expression, including the time delay inscription. 20.State space of Timed model Each state space node now represents a timed marking Occurrence sequence in a timed CPN model corresponds to untimed CPN model. Timed state space is larger than untimed state space (nodes in timed state space are timed markings)- two timed markings can be different (timing information makes more markings distinguishable)
boundaries, or from one occupational level to another (upwards or downwards). 68. Meritocracy- - a position in the hierarchy is determined by individual merit. 69. Poverty line- a level of personal or family income below which one is classified as poor according to governmental standards —called also poverty level 70. Essex man/ woman- Essex Man first appeared in a Sunday Telegraph column by Simon Heffer and became a shorthand for a well-off workwelcome to essexing class man who has moved out of London and likes to show off his newly found wealth. The stereotype was a political one as traditionally working class people were supposed to vote for the Labour Party, but Essex Man voted Conservative.Essex Man had a partner - Essex Girl - who was seen as loud, vulgar, scantily-dressed, of low intelligence and sexually promiscuous. 71. Chav/ Chavette- Another, more recent stereotype is that of the Chav. According to the
Bayley emphasizes his value of epiphanies. When describes (referring to territory of poem anecdotal that is almost story) about what entirely consists his “new way of exploring that territory” (1988, 272), Bayley does not do more than reform the poetic text definition that we have handled in the present work - a text in which the information highly is concentrated and organized in the following terms: “I have you use the shorthand of poetry to block in a situation in a way that prose would have to do much dwells laboriously, and AT to much to greater length” (1988, 272). It is as if the text, when concentrating itself, aspired to the luminous outbreak that is epiphanies: “to moment that is unique, drawing to together of event and experience into to singular impression which art dog to render whole” (Bayley 1988, 274).
It ran with almost unbelievable efficiency. The bags of mail for delivery that morning to the embassies in Vienna were brought to the black chamber each day at 7 a.m. There the letters were opened by melting their seals with a candle. The order of the letters in an envelope was noted and the letters given to a subdirector. He read them and ordered the important parts copied. All the employees could write rapidly, and some knew shorthand. Long letters were dictated to save time, sometimes using four stenographers to a single letter. If a letter was in a language that he did not know, the subdirector gave it to a cabinet employee familiar with it. Two translators were always on hand. All European languages could be read, and when a new one was needed, an official learned it. Armenian, for example, took one cabinet polyglot only a few months to learn, and he was paid the usual 500 florins for his new knowledge
number (SBVAUN) of the descriptions generally associated with it. (Searle adds the metaphysical claim that to be the person N is to have a SBVAUN of the relevant properties.) The vagueness is important; Searle says it is precisely what distinguishes names from descriptions, and in fact is why we have and use names as opposed to descriptions. Notice that, if the Name Claim were correct, then proper names' only function would be to save breath or ink; they would be just shorthand. Searle insists that, rather than being equivalent to a single description, a name functions as a "peg . . . on which to hang descriptions" (1958: 172), and that is what enables us to get a linguistic handle on the world in the first place. We would need to make some refinements. For example, if one is a Searlean it seems natural to require that a "sufficient number" be at least over half--otherwise two obviously distinct individuals could both be the name's referent
S T A N D A R D LANGUAGE A most important tool is a standardized language that makes possible the thousands of communications necessary to tell so many stories. N o one dictates this language, but it becomes part of everyone's education in the unwritten rules of the business. Newcomers quickly learn the lingo, concepts, and assumptions that have been passed down by generations of storytellers and filmmakers. T h i s provides everyone with a shorthand for the rapid communication of story ideas. M e a n w h i l e new terms and concepts are always being created to reflect chang ing conditions. Junior studio executives listen carefully for signs of insight, philoso phy, or ordering principle from their bosses. People take their lead from the leader. Any terms of art, any aphorisms or rules of thumb are seized upon and passed down, becoming part of the corporate culture of that studio and the general knowl edge of the industry
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