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Patrol craft
| Ìîðñêîé ñëîâàðü |
See motor launch, motor gunboat, motor torpedo boat, patrol torpedo boat, submarine chaser, swift boat, and cutter.
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Craft, àíãëèéñêèé
- (ëåòàòåëüíûé) àïïàðàò
- Ñóäíî
- Ñóäíî, ïëàâñðåäñòâî
- [1] a generic term for one or more water vehicles. this is the widest of four such terms, embracing boats, ships, and vessels and covering all other forms of water transportation such as rafts. [2] a trade. [3] art or skill. craig-gowan’s monster: in 1905, steam trawler craig-gowan was off scotland’s rattray head when her skipper, captain ballard, was alerted to the presence of a large creature following the ship. he later reported: on reaching the deck ... i saw a very large animal of a dark color, which seemed to be racing with us, but was about fifty feet to windward.... i at once saw that the animal was not a whale but some sea monster, the like of which i have never seen in my life. as it rose several portions of the body were visible at one time. it seemed to snake its way through the water, showing repeated portions of its brown body. the animal was now uncomfortably near. we could even see that the skin was covered with some substance like a rough coating of hair. ballard tried to drive off the creature with the trawler’s furnace rake, but he monster raised its fore part clean out of the water, made direct for the trawler, and... ... i plainly saw the monster rise up until its head was over our gaff peak, when it lowered itself with a motion as sudden as lightning carrying away all the peak halliards and sending the gaff, sail and all, down on deck. by the time the crew had squared away, the creature had disappeared.
Craft inclination, àíãëèéñêèé
Íàêëîí ëà
Craft interface, àíãëèéñêèé
Ñëóæåáíûé èíòåðôåéñ
Craft together, àíãëèéñêèé
Ñëÿïàòü; ñìàñòåðèòü
Craft-acrobat, àíãëèéñêèé
Strength-applying acrobat performing a variety of stand tricks involving strength; these tricks are performed both solo and jointly with partners almost without acrobatic dynamics, i.e. without jumps.
Craft-juggler, àíãëèéñêèé
Strength-applying juggler, the same as "grenade thrower".
Craftiness, slyness, àíãëèéñêèé
Crafton, tull & associates, àíãëèéñêèé
Crafts, àíãëèéñêèé
Craftsman, àíãëèéñêèé
Ñòðîèòåëüíûé ðàáî÷èé îïðåäåëåííîé ñïåöèàëüíîñòè
Craftsman style, àíãëèéñêèé
Craftsmanship, àíãëèéñêèé
Õàëòóðà; ïëîõî âûïîëíåííàÿ ðàáîòà
Craftsmen, àíãëèéñêèé
Ðàáî÷àÿ ñèëà
Patrol, àíãëèéñêèé
- Ïàòðóëü; ïàòðóëüíûé
- Ïàòðóëüíûé
- The night-rounds, to see that all is right, and to insure regularity and order.
- A force sent out to gather information, or to carry out a destructive, harassing, mopping-up, or security mission.
Patrol air cushion vehicle, àíãëèéñêèé
Ïàòðóëüíûé àïïàðàò íà âîçäóøíîé ïîäóøêå
Patrol aircraft service unit, àíãëèéñêèé
Ïîäðàçäåëåíèå îáñëóæèâàíèÿ ïàòðóëüíîé àâèàöèè —- ðàòò pattern ìàðøðóò; ñõåìà; ñòðóêòóðà
Patrol boat, àíãëèéñêèé
Patrol bomber squadron, àíãëèéñêèé
Ýñêàäðèëüÿ ïàòðóëüíûõ áîìáàðäèðîâùèêîâ ðàò-ñ position, attitude, trajectory- control äàííûå î ìåñòîíàõîæäåíèè, ïðîñòðàíñòâåííîì ïîëîæåíèè è òðàåêòîðèè äëÿ ñèñòåìû óïðàâëåíèÿ ïîëåòîì ðàòññ áð preston air traffic control centre ïðåñòîíñêèé öåíòð óâä ðàòñî professional air traffic controllers organization îðãàíèçàöèÿ îïåðàòîðîâ-ïðîôåññèîíàëîâ ñëóæáû óâä; ïðîôñîþç àâèàäèñïåò÷åðîâ
Patrol seaplane, àíãëèéñêèé
Ïàòðóëüíûé ãèäðîñàìîëåò
Patrol squadron, àíãëèéñêèé
Ïàòðóëüíàÿ ýñêàäðèëüÿ
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Patrol torpedo boat, àíãëèéñêèé
This was a usn world war ii vessel adapted from the fast rum-runners used to outpace coast guard cutters during prohibition.
Patriotic songs, àíãëèéñêèé
In the late 18th and early 19th centuries, the rise of industrialized warfare with large citizen involvement gave rise to patriotic war songs, of which the british “rule britannia” and french “marseillaise” were prototypical. singing them was supposed to improve martial ardor, raise the spirits of troops and civilians, and encourage national chauvinism. to some extent this was a throwback to the war chants of primitive societies which served not only to intimidate enemies, but also to fortify morale. • british songs: in the days of julius caesar, britannia was a place (england) rather than a person. then emperor hadrian issued a coin with a female figure, resembling the goddess minerva but identified as britannia and wearing a centurion’s helmet, wrapped in a toga, carrying spear and shield. in typical roman fashion this young woman was almost immediately identified as a goddess in her own right. during the elizabethan renaissance, she was considered the personification of england and, after union with scotland, was used a rallying image for all britons. as british sea power and influence began a gradual resurgence, the national goddess became an increasingly important naval symbol. with her spear replaced by neptune’s trident she was the centerpiece of a london pageant in 1602, appeared on coinage in 1672, and was the subject of a poem by james thompson entitled “rule britannia” and written around 1725: when britain first at heaven’s command arose from out the azure main; this was the charter of the land and guardian angels sang this strain; rule britannia! britannia rule the waves britons never, never, never shall be slaves! at that time, the royal navy was tactically ahead of all its rivals, but had no real claim to “rule the passenger 234 waves.” both dutch and french had large navies with arguably better ships, while the spanish armada was still a significant factor. british maritime hegemony was almost in sight, but the poem was really intended to be a nostalgic remembrance of the ninth century when alfred the great (known as “father of the english navy”) had humbled the danes (see saxon seapower). thompson’s poem was set to music by thomas augustine arne in 1740, just at the beginning of the royal navy’s rise to world domination. throughout the 19th century and into the 20th “rule britannia” was a chauvinistic musical celebration of britain’s overwhelming naval power. even after the british fleet has been reduced to a shadow of its former self the song remains, unofficially, an alternative national anthem; sharing that status with arthur benson’s poem, set to sir edward elgar’s music “pomp and circumstance” for use as a coronation ode in 1902: land of hope and glory, mother of the free, how shall we extol thee, who are born of thee? wider still and wider shall thy bounds be set; god who made thee mighty, make thee mightier yet. • the united states has no fewer than five patriotic songs with anthem-like status. unlike “rule britannia,” none has direct maritime connections. for most of the 19th century, “hail columbia” was the unofficial national hymn. originally titled “the president’s march,” it was composed by philip phile in 1789 for the inauguration of george washington. lyrics by joseph hopkinson were added in 1798. hail columbia, happy land! hail, ye heroes, heav’n-born band, who fought and bled in freedom’s cause, who fought and bled in freedom’s cause, and when the storm of war was gone enjoy’d the peace your valor won. firm and united let us be, rallying round our liberty, as a band of brothers joined, peace and safety we shall find. another anthem, “america the beautiful,” was written in 1893 by writer-poet katherine lee bates, an instructor at wellesley college, massachusetts, and set to music by samuel ward in 1910. it too won national support. o beautiful for spacious skies, for amber waves of grain. for purple mountain majesties above the fruited plain. america! america! god shed his grace on thee, and crown thy good with brotherhood from sea to shining sea. the melody of the third patriotic song, was originally the german “kaiserhymne,” which has also served as the national anthems of denmark, russia, sweden, and switzerland, and is still that of the united kingdom. the lyric was written in 1831 or ’32 by the rev. samuel francis smith of boston’s park street church: my country, ’tis of thee, sweet land of liberty, of thee i sing; land where my fathers died, land of the pilgrims’ pride, from every mountainside, let freedom ring! during the late 19th and early 20th centuries these three hymns competed for national recognition with a fourth written in 1814 by francis scott key and set to the tune of a popular british drinking song by john stafford smith. o! say can you see by the dawn’s early light what so proudly we hailed at the twilight’s last gleaming? whose broad stripes and bright stars through the perilous fight, o’er the ramparts we watched were so gallantly streaming? and the rockets’ red glare, the bombs bursting in air, gave proof through the night that our flag was still there. oh, say does that star-spangled banner yet wave o’er the land of the free and the home of the brave? in 1889, “the star spangled banner” was recognized for official use by the united states navy when visiting foreign ports, but the nation itself remained without a hymn of national praise. meanwhile, a fifth patriotic song gained national recognition. it was written in 1918 by russian-born composer israel baline under his adopted american name of irving berlin. its key lyrics are: god bless america land that i love stand beside her and guide her thru the night with light from above from the mountains, to the prairies, to the oceans bright with foam god bless america my home sweet home it was not until march 1931 that a congressional resolution was signed by president herbert hoover, making “the star spangled banner” the undisputed united states national anthem.
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