kleinstes – Traduction – Dictionnaire Keybot

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Die Snekkja gilt als kleinstes Kriegsschiff der Wikinger, mit einer relativ kleinen Besatzung von 41. Je nachdem, an welchem Ort sie gebaut wurden, fiel ihre Bauart anders aus. Die Ausführung der Norweger etwa war eher dem Atlantik angepasst und den tiefen Fjorden, mit mehr Tiefgang als dänische Exemplare, die eher in seichten Küstengewässern eingesetzt wurden.
Snekkja are thought to be the smallest of all the Viking warships, carrying a relatively small crew of 41 men. The design of these ships varied slightly depending on the location of its construction; for example, the Norwegian design was better suited to Atlantic weather conditions and deep fjords, meaning it had more draft than its Danish counterparts, designed for shallow coastal waters and beaches. These lighter ships, so light that it is thought they could be carried short distances over-land between waterways, were the most common design of longship, often appearing in the Viking histories. It was reported that the great King Cnut even used 1200 of them to assert his claim over Norway in AD1028.
On pense que l'esneque était plus petit que les autres navires de guerre vikings, transportant un équipage plutôt réduit de 41 hommes. La conception de ces navires varie légèrement selon leur lieu de construction : par exemple, la conception norvégienne était plus adaptée aux conditions météorologiques de l'Atlantique et des fjords profonds, ce qui veut dire que le navire avait plus de tirant que le modèle danois, destiné aux eaux côtières peu profondes et aux plages. Ces vaisseaux plus petits étaient si légers qu'on pouvait, entre deux cours d'eau, les transporter sur la terre ferme sur de courtes distances. Le modèle de drakkar était le plus répandu, et apparaît souvent dans les récits vikings. On dit que le roi Knut le Grand en employa même 1200 afin d'asseoir son emprise sur la Norvège en 1028.
La snekke era probabilmente la più piccola delle navi da guerra vichinghe, in quanto poteva trasportare un equipaggio di soli 41 uomini. La struttura di questa nave variava leggermente a seconda del luogo in cui veniva costruita. Ad esempio, la struttura norvegese era più adatta alle condizioni climatiche dell’Atlantico e ai profondi fiordi, e aveva più pescaggio della versione danese, progettata per le basse acque costiere e per le spiagge. Queste navi erano così leggere che venivano probabilmente trasportate per brevi distanze sulla terraferma, ed erano il tipo più comune di langeskip (nave lunga), spesso presente nelle storie vichinghe. Pare che il grande re Canuto ne abbia usate 1200 per assicurarsi la vittoria sulla Norvegia, nel 1028 d.C.
Snekkja byla nejmenší ze všech vikingských válečných lodí a uvezla jen malou jednačtyřicetičlennou posádku. Design těchto lodí se mírně lišil podle toho, kdo a kde je postavil; například norský typ se lépe hodil do atlantských klimatických podmínek a pro plavbu úzkými fjordy, protože měl hlubší ponor než jeho dánský protějšek, navržený pro mělčí pobřežní vody a mělčiny. Tato lehká plavidla – tak lehká, že se předpokládá, že je bylo možné na krátkou vzdálenost přenášet po souši mezi splavnými úseky řek – byla tím nejběžnějším typem drakkaru, který se často objevuje ve vikingských historických spisech. Slavný král Knut údajně nasadil do boje 1 200 těchto drakkarů, když v roce 1028 vytáhl dobýt Norsko.
Snekkary to prawdopodobnie najmniejsze ze wszystkich statków wikińskich. Na ich pokładzie mieściło się 41 ludzi. Ich wygląd nieco się różnił w zależności od miejsca pochodzenia. Na przykład, wersja norweska była lepiej dostosowana do warunków pogodowych na Atlantyku i głębokich fiordów, co oznacza, że charakteryzowała się większym zanurzeniem niż jej duńskie odpowiedniki przeznaczone na płytkie wody przybrzeżne i plaże. Snekkary były tak lekkie, że można je było przenosić na krótkie odległości po lądzie pomiędzy drogami wodnymi. Były to również najbardziej pospolite z langskipów i często pojawiały się w historii wikingów. Ponoć sam Kanut Wielki w 1028 roku najechał Norwegię z flotą, w której skład wchodziło 1200 tych łodzi.
Шнекка считается самым маленьким кораблем викингов: ее команда состояла всего из 41 человека. Конструкция шнекки могла различаться в зависимости от места строительства: к примеру, норвежский вариант был лучше приспособлен к суровой погоде Атлантики и глубоким фьордам, а датский - к узким проливам и мелководью. Считается, что благодаря малому весу шнекки можно было перетаскивать волоком из одного водоема в другой. Этот тип корабля был самым массовым в скандинавской истории: согласно летописям, король Кнуд для утверждения своей власти в Норвегии собрал флот из 1200 шнекк.
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Es liegt an der Art, in der Ruff ihn vorgeblich zum Akt veredelt. Letztlich ist die Serie Nudes (seit 1999) nur deshalb interessant, weil Ruff im Netz auf das digitale Bild und dessen kleinstes Element, den Pixel, stößt.
Following this sudden shift to the frigid zone of the stars and the night, but also the black and white forensically reworked Other Portraits, came the sparklingly colorful War in Heaven titled Nudes. The series amounts to artistic failure, albeit one that was highly successful on the art market and that takes up a conspicuous amount of space in the Haus der Kunst. This is not due to the motif, the raw material of which is pornography, but to the way in which Ruff appears to elevate it to the status of nude. In the final analysis, Nudes (since 1999) is only interesting in terms of the way that Ruff encounters the digital image and its smallest element, the pixel, in the Internet. "I looked at how the pixels are put together," he explained, "how the enlargement functioned, and I realized that when you shift the pixels slightly and then blow it up, the image takes on a more beautiful structure." He only had to apply this procedure of pixel shifting to one of the thumbnails the porno industry uses to lure visitors into spending money, "and then I had my first nude. It was quite amazing, because on the one hand the image was very beautiful, and on the other it looked a bit nasty." Yet Ruff’s experiments with the pixels could also be regarded as a false move. Not only in the case of the Nudes, where the pixels transform sex workers in the process of being penetrated in the oddest of ways into cozy, soft-skinned sex dolls in inappropriate poses; in similar manner, the first thought that comes to mind with the series jpeg (since 2004) is whether or not the work is actually an inquiry into the topic of kitsch and photography. The "beautiful structure" Ruff obtains at a higher rate of compression and a smaller number of pixels in the overall enlargement is as brash and overly clear as the motif of buildings collapsing, whether from earthquakes, tsunamis, or the attacks of September 11 in New York.
  www.taschen.com  
Alle Gemälde werden in Vollansichten und spektakulären Detailabbildungen dokumentiert, die in Umfang und Qualität nie dagewesene Maßstäbe setzen. Neue Fotoserien der Gemälde wurden angefertigt und erlauben zum ersten Mal, auch Kleinstes im Großformat zu zeigen.
Our understanding of Caravaggio’s work has been substantially broadened in recent decades by major exhibitions, restoration campaigns, new attributions and archival discoveries. The new catalogue raisonné offers a detailed overview of the artist’s entire oeuvre based on the latest research. Every painting is reproduced in large-scale format, with spectacular details that offer dramatic close-ups and set new standards in print quality. A new photographic campaign has been undertaken, enabling the smallest details to be reproduced on a large scale for the first time. They reveal all the more clearly Caravaggio’s virtuosity and his enormous ability to capture the viewer’s attention and to build a communicative bridge between the worlds of picture and viewer. Sequences of spectacular details grouped by subject allow us to experience Caravaggio’s ingenious rhetoric of looks and gestures and their theatrical staging in paint.
Au cours des dernières décennies, la conception que nous avons de l'œuvre de Caravage s'est considérablement élargie grâce à d'importantes expositions, à des travaux de restauration à grande échelle, ainsi qu'à de nouvelles études et autres trouvailles archivistiques. Le somptueux catalogue raisonné, entièrement mis à jour, offre un aperçu détaillé de l'œuvre tout entier. Chaque tableau est présenté en grand format et accompagné d'illustrations spectaculaires de détails qui établissent de nouveaux critères de dimension et de qualité. De nouvelles photographies ont été réalisées et proposent pour la première fois une vue grand format des plus petits détails. La virtuosité du Caravage, son aptitude incroyable à accrocher le regard du spectateur et à créer un pont entre la réalité qui y réside et celle du tableau sont ainsi mises en évidence et deviennent compréhensibles. Des séquences de détails saisissants classés de manière thématique permettent d'appréhender la rhétorique sophistiquée des regards et des gestes élaborée par Caravage et leur mise en scène théâtrale.
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SNOW Operating hat sich für unser kleinstes Pistenfahrzeug, den NEW HUSKY entschieden, das dank seiner Leistung, Agilität und vor allem seiner Fähigkeit, selbst auf engem Raum einsetzbar zu sein, ideal für die Projekte des Unternehmens geeignet ist.
SNOW Operating has chosen to work with our smallest snow groomer the NEW HUSKY due to its power, agility and ability to work in the tight spaces they often encounter during their builds. Because of this, it makes for a much more efficient use of man and machine hours. “Snow Operating’s Terrain Based Learning methods are having a fundamental impact on the way ski resorts teach skiing and snowboarding. As such, this partnership positions PRINOTH at the heart of how the ski industry is growing the sport. In the long term, everybody wins: PRINOTH, Snow Operating and the ski industry.” Charles Blier, Sales Vice-President, North America.
SNOW Operating a choisi de travailler avec notre plus petite dameuse, la NEW HUSKY, en raison de sa puissance, de son agilité et de sa capacité à travailler dans les espaces étroits qu’ils rencontrent souvent lors de leurs constructions. Il est ainsi possible de gérer bien plus efficacement les heures de travail du personnel et des machines. « Les méthodes de Terrain Based Learning de Snow Operating ont un impact considérable sur la façon dont les stations de ski enseignent le ski et le snowboard. Ce partenariat positionne donc PRINOTH au cœur de la façon dont l'industrie du ski fait évoluer le sport. Et au final, tout le monde y gagne : PRINOTH, Snow Operating et l'industrie du ski. » Charles Blier, Vice-Président des ventes, Amérique du Nord.
SNOW Operating ha scelto di lavorare con il nostro battipista più piccolo, il NEW HUSKY, per la sua potenza, l’agilità e la capacità di operare negli spazi ridotti con cui l’azienda deve spesso fare i conti nei suoi interventi di costruzione. Grazie a queste caratteristiche permette di sfruttare in modo più efficiente le ore macchina/uomo. “I metodi di Terrain Based Learning di Snow Operating hanno un impatto essenziale sul modo in cui i comprensori sciistici insegnano lo sci e lo snowboard. Questa partnership pone PRINOTH al centro dell’evoluzione degli sport nel settore sciistico. Nel lungo termine, saranno tutti vincitori: PRINOTH, Snow Operating e il settore sciistico.” Charles Blier, Vicepresidente Vendite, Nord America.
  www.db-artmag.com  
Es liegt an der Art, in der Ruff ihn vorgeblich zum Akt veredelt. Letztlich ist die Serie Nudes (seit 1999) nur deshalb interessant, weil Ruff im Netz auf das digitale Bild und dessen kleinstes Element, den Pixel, stößt.
Following this sudden shift to the frigid zone of the stars and the night, but also the black and white forensically reworked Other Portraits, came the sparklingly colorful War in Heaven titled Nudes. The series amounts to artistic failure, albeit one that was highly successful on the art market and that takes up a conspicuous amount of space in the Haus der Kunst. This is not due to the motif, the raw material of which is pornography, but to the way in which Ruff appears to elevate it to the status of nude. In the final analysis, Nudes (since 1999) is only interesting in terms of the way that Ruff encounters the digital image and its smallest element, the pixel, in the Internet. "I looked at how the pixels are put together," he explained, "how the enlargement functioned, and I realized that when you shift the pixels slightly and then blow it up, the image takes on a more beautiful structure." He only had to apply this procedure of pixel shifting to one of the thumbnails the porno industry uses to lure visitors into spending money, "and then I had my first nude. It was quite amazing, because on the one hand the image was very beautiful, and on the other it looked a bit nasty." Yet Ruff’s experiments with the pixels could also be regarded as a false move. Not only in the case of the Nudes, where the pixels transform sex workers in the process of being penetrated in the oddest of ways into cozy, soft-skinned sex dolls in inappropriate poses; in similar manner, the first thought that comes to mind with the series jpeg (since 2004) is whether or not the work is actually an inquiry into the topic of kitsch and photography. The "beautiful structure" Ruff obtains at a higher rate of compression and a smaller number of pixels in the overall enlargement is as brash and overly clear as the motif of buildings collapsing, whether from earthquakes, tsunamis, or the attacks of September 11 in New York.
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