Neurosis is a class of functional mental disorders involving distress but neither delusions nor hallucinations. Neurosis may also be called psychoneurosis or neurotic disorder.
There are many different neuroses: obsessive–compulsive disorder, obsessive–compulsive personality disorder, impulse control disorder, anxiety disorder, hysteria, and a great variety of phobias.
According to C. George Boeree, professor emeritus at Shippensburg University, the symptoms of neurosis may involve:
Neurosis may be defined simply as a "poor ability to adapt to one's environment, an inability to change one's life patterns, and the inability to develop a richer, more complex, more satisfying personality."
Carl Jung found his approach particularly effective for patients who are well adjusted by social standards but are troubled by existential questions.
Neurosis is a post-metal band, based in Oakland, California. They formed in 1985 as a hardcore punk band, and their sound progressed towards a doom metal style that also included influences from dark ambient and industrial music as well as incorporating elements of folk music.
In late 1985, Scott Kelly, Dave Edwardson and Jason Roeder (formerly members of Violent Coercion) founded the band as a hardcore punk outfit, borrowing from British crust punk like Amebix.
In 1986 Chad Salter was added on second guitar, and in 1990, Simon McIlroy joined the band as a synthesizer/sampler. There have only been a few changes in the lineup of Neurosis' musicians since band's inception. In 1989 guitarist/vocalist Chad Salter was replaced by Steve Von Till, and in 1995 Noah Landis, a childhood friend of Dave Edwardson, replaced Simon McIlroy as keyboardist.
With The Word as Law, Neurosis began to transition from the hardcore punk of Pain of Mind to the more experimental sound of Souls at Zero, which would ultimately form the basis for post-metal. Neurosis' signature sound came into full force with Enemy of the Sun, with The Quietus observing that "at the time few could have predicted this black hole of agonizingly precise metal riffs, unnerving backmasking, industrial folkisms and extensive sampling".
In linguistics, a numeral is a member of a word class (or sometimes even a part of speech) designating numbers, such as the English word 'two' and the compound 'seventy-seven'.
Numerals may be attributive, as in two dogs, or pronominal, as in I saw two (of them).
Many words of different parts of speech indicate number or quantity. Quantifiers do not enumerate, or designate a specific number, but give another, often less specific, indication of amount. Examples are words such as every, most, least, some, etc. There are also number words which enumerate but are not a distinct part of speech, such as 'dozen', which is a noun, 'first', which is an adjective, or 'twice', which is an adverb. Numerals enumerate, but in addition have distinct grammatical behavior: when a numeral modifies a noun, it may replace the article: the/some dogs played in the park → twelve dogs played in the park. (Note that *dozen dogs played in the park is not grammatical, so 'dozen' is not a numeral.)
Zero or Zéro is surname, given name or pseudonym of the following people:
Zero is name of the following notable fictional characters:
"Zero" is a song by American indie rock band Yeah Yeah Yeahs, released as the lead single from their third studio album, It's Blitz! (2009). The song received critical acclaim from music critics for its production, and was named the best track of 2009 by both NME and Spin magazines.
The single had minor commercial success, peaking at numbers four and eighteen on the Billboard Alternative Songs and Hot Dance Singles Sales charts, as well as number forty-nine on the UK Singles Chart. A music video for the single, which shows lead singer Karen O walking the streets of San Francisco at night, was released in March 2009.
"Zero" received acclaim from music critics. Paula Carino of AllMusic described the song as "an exhilarating and wide-open expanse of pure electro-pop". Mary Bellamy of Drowned in Sound viewed the track as "the call to arms of a band who desperately want to teleport the refugees of fashion-fizzled pop, the hippest of hipsters and the weirdest outsiders to the dancefloor of their sweaty spaceship", stating it is "perhaps one of the band's finest moments ever committed to tape."