IATEIATE (InterActive Terminology for Europe) is the terminology database for all EU institutions.

IATE has been operational since the summer of 2004 with the aim of providing an internet-based service for sharing terminology between institutions. In 2007 a public version of the site was launched which enables all EU citizens to search for specific terminology in any of the official languages. The Internet version of IATE now receives over 70 million queries a year.

Both IATE sites have “help” sections should users encounter any difficulties whilst searching in IATE. Furthermore, there is also an Input Manual for those users who create and update entries.

The database is managed by a management group with representatives from the following institutions participating in the IATE project:

  • The European Parliament
  • The European Commission
  • The Council of the European Union
  • The European Court of Justice
  • The European Court of Auditors
  • The European Economic and Social Committee
  • The Committee of the Regions
  • The Translation Centre for the Bodies of the European Union
  • The European Central Bank

The IATE Management Group meets several times a year; in these meetings the European Parliament is represented by TermCoord. For further details about the interinstitutional management of IATE, click here.

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2 Responses to IATE

  1. Simonetta C>apponi says:

    why it is now impossible to have access to the page?
    the automatic reply is that the requested page doesnt’ exist.

  2. JOHN G. WHITE says:

    Since 1954 I have studied Pictish art. The sematogramic heraldiic nature of Pictish Class I stones illuistrate the functionality of such stones: territorial clann political power markers apparent by their distribution sites and family/clann intermarriage/political marriage unions and by their heraldic couplings (often if not always) representative of male (abstract) and female (organic quasi-naturalistic and specific properties.) The Hilton of Cadboll stone reveals its proclamatory purpose: to depict a paramount belief in life and after-life comings and goings as the meaning of existence in abstract (circular side interlaced bands per vinealinear vegetative movement echoing the transit story of humankind shown as horse riders (superior clarity than solely an individual subject symbol). The two discs further echo these transit paths of interlace for this world and the next. The interior interlace of each disc shows the duplicate roles of purpose in this life and hereafter.

    As for the origins of the Picts, I would bet on Aquitaine in Southwestern France ,inasmuch as this was the mapped territory of the Pictones, likely a Euro substratem Basque tribe, one with very likely strong connections with Northwestern Spain (Galicia and Asturias, even Northern Portugal).

    But were the crescent and V-rod, for example, originally Pictish? Certainly such Class I symbols were used by the Picts, as mentioned above. But one historical source argues that a band of Finns with similar Nordic mythological symbols as the Germanic (Gothic) tribes carved these symbols as proclamations and founding markers. He finds links with Pictish and Finnish words.
    And he interprets such crescent as a rising sun as a symbol for Thor, as I recall. The V-rod is inter-
    preted as a sceptered serpent, consistent with “the World Snake” of Nordic myth. Frey and Odin figure less prominently as models. This interpretation is not as far-fetched as the notion that the insular Picts invented all these Class I symbols by themselves. And such an interpretation does not
    posit that the Picts were merely Finnish explorers! Intermarriage explains similar words.

    One source states that the “Celts did not have aspiration” in their language. How could such an
    argument be even partly correct what with the aspirate h in Irish and Scottish Gaelic?

    But the above said, one should not underestimate the significance of Pictish aesthetics: See: Geo. Bain, Ian Bain, Courtney Davis, et. al. on the wonderous nature of Pictish art construction.
    For the painter, such art is nothing less than the translation of mass, the plane, into interlace.
    And interlace, the crux of the cosmic web, is a boon to the contemporary artist who would
    relate shape and forms, to square nature with modern physics.

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