1. A piece of hardware used for fastening; it screws into a nut.
2. The part of a lock that is engaged or withdrawn with a key; SYN. deadbolt.
3. A sudden abandonment (as from a political party).
4. A sliding bar in a breech-loading firearm that ejects an empty cartridge and replaces it and closes the breech.
5. Sifting cloth.
Ekser, čavao, trouglasti umetak.
Svetlost od groma, elektirčno pražnjenje između oblaka i zemlje.
1. Uska gvozdena pločica kojom se zatvaraju vrata sa unutrašnje strane, zasun;
2. Zatvarač na vratima železničkih vagona koji se diže i spušta prilikom otvaranja i zatvaranja;
3. Jezičak u bravi kojim se pomoću ključa zaključavaju vrata;
4. Prenosno: brazda, usek, zasek;
5. Hajdučka trava (tur.)
"Municija" za izbacivanje iz luka.
Mehanizam za zatvaranje cevi, za ispaljivanje metka i izbacivanje prazne čaure kod vatrenog oružja.
Šraf, navrtanj.
Muški šraf.
1. To secure or lock with a bolt.
2. To move or jump suddenly.
3. To make or roll into bolts.
4. To swallow hastily.
Sift. boltel.
Uteći.
1. In an erect or straight-backed position; rigidly
2 archaic; directly, straight
(Oxton) (1924-1995) English dramatist and screenwriter. He is known for his historical plays, such as A Man for All Seasons 1960 (filmed 1966), and for his screenplays, including Lawrence of Arabia 1962, Dr Zhivago 1965 (both Academy Awards), Ryan’s Daughter 1970, and The Bounty 1984.
Born in Sale, Lancashire, Bolt attended Manchester Grammar School and Manchester University, and for several years taught English and history in secondary schools. He was 33 when the success of one his earliest plays, Flowering Cherry 1957—which starred Ralph Richardson and Celia Johnson in its first run at the Haymarket—persuaded him to become a full-time writer.
His writing career was firmly established by A Man for All Seasons. Widely considered his most important play, it deals with the tragic relationship between Henry VIII and Sir Thomas More, and illustrates Bolt’s ability to dramatize political and moral issues using a clear dramatic structure, strong characterization and expressive dialogue. Later plays were less successful, though Vivat! Vivat Regina! 1970 again illustrates his ability to bring history vividly to life, and Revolution 1977, a critical but not popular success, shows Bolt’s continued willingness to tackle intellectually ambitious works.
Bolt was also an outstanding screenplay writer; he both wrote and directed Lady Caroline 1972. In The Mission 1986, which he wrote with great difficulty after a severe stroke, he returned to political issues, this time the Spanish/Portuguese exploitation of South America during the 17th century.