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In these works he labeled a dull person as a "Bromide" contrasted with a "Sulphite" who was the opposite. Bromides meant either the boring person themself or the boring statement of that person, with Burgess providing many examples. This usage persisted through the 20th century into the 21st century.
Some people consider it best to use person-first language, for example "a person with a disability" rather than "a disabled person." [1] However identity-first language, as in "autistic person" or "deaf person", is preferred by many people and organizations. [2] Language can influence individuals' perception of disabled people and disability. [3]
Moron is a term once used in psychology and psychiatry to denote mild intellectual disability. [1] The term was closely tied with the American eugenics movement. [2] Once the term became popularized, it fell out of use by the psychological community, as it was used more commonly as an insult than as a psychological term.
Notes Works cited References External links 0-9 S.S. Kresge Lunch Counter and Soda Fountain, about 1920 86 Main article: 86 1. Soda-counter term meaning an item was no longer available 2. "Eighty-six" means to discard, eliminate, or deny service A abe's cabe 1. Five dollar bill 2. See fin, a fiver, half a sawbuck absent treatment Engaging in dance with a cautious partner ab-so-lute-ly ...
"All work and no play makes Jack a dull boy" is an old proverb that means without time off from work, a person becomes both bored and boring. It is often shortened to "all work and no play". [ 1 ] It was newly popularized after the phrase was featured in the 1980 horror film, The Shining .
Oxymorons in the narrow sense are a rhetorical device used deliberately by the speaker and intended to be understood as such by the listener. In a more extended sense, the term "oxymoron" has also been applied to inadvertent or incidental contradictions, as in the case of "dead metaphors" ("barely clothed" or "terribly good").
It can be read as one of his "poems of epistemology", as B. J. Leggett styles it in his Nietzschean reading of Stevens' perspectivism, [2] a minimalistic statement of his interest in the relationship between imagination and the world.
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