Also special: space, wooden tongue depressor, lovely shades of teal throughout, tiny planet the perfect size for Courtney Barnett.
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France is a country of race- and class-blind political discourse couched in the obfuscating doublespeak referred to as la langue de bois ("wooden tongue").
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They placed a wooden tongue depressor between the ring and the penis to protect the skin and then used a diamond-tipped bone saw to cut the ring.
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The spatula is on the smaller side, which made scooping the wax from the cup cumbersome; next time, we'll come equipped with a fat wooden tongue depressor to get the job done.
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Scraping is a process of decontamination in which the bulk contaminant is removed from the victim or environment using a spatula, wooden tongue depressor, or other handheld implement. Scraping works best with viscous liquids and solids.
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Chapter II, Examination of the Throat and Nasal Passages. Published by W. Wood, 1884, 742 pp. Since they are inexpensive and difficult to clean because of their porous texture, wooden tongue depressors are labeled for disposal after a single usage.Landro, L. Hospitals Reuse Medical Devices To Lower Costs Wall Street Journal March 19, 2008.
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Actinobacillosis is a zoonotic disease caused by Actinobacillus. It is more commonly associated with animals than with humans. One of the most common forms seen by veterinarians is mouth actinobacillosis of cattle, due to Actinobacillus lignieresii. The most prominent symptom is the swelling of the tongue that protrudes from the mouth and is very hard at palpation ("wooden tongue").
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The interior has wooden tongue-in-groove floors. Net House: The net house was constructed in 1895. It is a single-story building, built as a combination of saddle-notched, horizontal log construction on one half and a frame structure with a shed roof with horizontal planks on the other. The exterior is sheathed with tarpaper, and there is a simple plank door.
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It is written in "wooden tongue" and its phrases have "the taste of sud". The textbook's political ideas became historiographic theses and quickly turned into requirements for all the official history writing of the period. Class struggle was presented as the driving force of history, with social conflicts taken out of context and exaggerated in importance. A special case is the ancient history chapter, on Roman Dacia.
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The factory's outdated construction materials and methods are believed to have contributed to the severity of the blaze. The ceiling was of wooden tongue and groove design. The creosote used throughout was known as “fat lighter,” because of the fire risk it posed. Interviews of Imperial Sugar employees conducted by OSHA uncovered a lack of training, as 40 of the workers reported never receiving training on how to exit the building in an emergency.
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Old Tup's head was described as being that of a sheep, and was often carved out of wood. In some instances, the wooden tongue of Old Tup was reported as having been painted red. In other instances, there were reports of a real sheep's head, as opposed to a wooden one, being used; these reports include complaints as to the smell of the head. In others, a combination of wooden and real elements were included, with a wooden frame covered by the horns and/or skin from a sheep's head.
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Tom Gallagher, "A Historian Indispensable for Two Romanian Presidents (I)" , in Ziua, April 14, 2006 In addition, he wrote that, in agreeing to interview Iliescu, Vladimir Tismăneanu had come to contradict his own assessment of the post-Revolution regime, which he had earlier defined as "of a populist, corporatist and semi-fascist type". In contrast to this assessment, Ion Bogdan Lefter challenged that Tismăneanu had taken "unnecessary precautions" in stating his bias during the dialogue with Iliescu, given that the latter was "at the end of his political career", and stresses that the interviewer had preserved "a researcher's perspective" throughout the conversation. Also according to Lefter, the interest of the book does not reside with Iliescu's views on politics, which express "the already familiar 'official' version, formulated in his hardly bearable 'wooden tongue' ", but in his recollections of childhood and youth.
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" In Soviany's view, the text recalls the works of Moldovan author Vasile Ernu and elements from classic works in Romanian literature (from Ion Creangă's Childhood Memories to Marin Preda's Moromeții), while Axinte believes it a synthesis of Lungu's own narrative techniques, seeping into "a kind of discourse objectification that has rarely been frequented in recent times." Ciotloș places stress on the work's reworking of communist stereotypes. He argues that Emilia Apostoae's early biography, in particular her migration from village to urban center, assimilates a theme from socialist realism ("the prose works produced and expired during the 1950s"), while the aspects of narrative language incorporate the diverse avatars of speech under ideological pressure, from the "parental and always costly discussions" confronting politically appointed supervisors and their nonconformist employees to subversive forms of Romanian humor and the "wooden tongue" of official speeches. Spread out between these fragments of authentic speech are Lungu's own observations, which prompt Ciotloș to argue: "[...] this is where [the novel's] originality can be found, in the rare moments when he decides to intervene.
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