(redirected from brassier)
Also found in: Dictionary.
Graphic Thesaurus  🔍
Display ON
Animation ON
  • adj

Synonyms for brassy

Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition. 2002 © HarperCollins Publishers 1995, 2002

Synonyms for brassy

The American Heritage® Roget's Thesaurus. Copyright © 2013, 2014 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Synonyms for brassy

resembling the sound of a brass instrument


unrestrained by convention or propriety

Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
Williams: One important influence of Brassier's philosophy was its emphasis on the absolute necessity of a compact between knowledge of the world and our ability to transform it.
The concept of the anthropocene clearly presupposes a concept of the human; it is arguably even that epoch in which it is more decisive than ever to grasp what we mean by "anthropos." It also, however, implies a very specific future, namely, the possibility of humanity's own extinction (Benatar 2006; Brassier 2007; Thacker 2011).
(1) Among contemporary speculative realists, including Ray Brassier, Ian Hamilton Grant, Graham Harman, and others, what is here called "relational ontology" is termed "correlationism," as first coined by Quentin Meillassoux in After Finitude: An Essay on the Necessity of Contingency, trans.
Meillassoux Q, 2010 After Finitude translated by R Brassier (Bloomsbury, London)
Abdul (21 years, Muslim) said: 'If you ask me please I want money to buy brassier or pant, and I don't have and I love you.
Significantly, O'Sullivan doesn't fall into the trap of concluding his analysis with Deleuze and Guattari as the latest form of immanent 'ur-text.' Rather, he introduces a new line of flight with a discussion of several proponents of 'Speculative Realism,' most notably Quentin Meillassoux, Reza Negarestani, Graham Harman, Ray Brassier and Ian Hamilton Grant.
Ronan is spellbinding, conveying most of her emotions through her eyes, while Arterton takes the flashier, brassier role as vengeful protector.
As Ray Brassier says of this aspect of Laruelle's work:
The strings are overlaid with the soft, piping tones of Rajoub's saxophones, reigned in to a woody whisper reminiscent of a Turkish ney (an end-blown wooden flute), and bolder, brassier pieces in which the two instruments tangle and collaborate, call and respond, over Yassine's wild percussion.
It is not difficult to think that de Man would have been a keen reader of Ray Brassier's Nihil Unbound: Enlightenment and Extinction (2007) and its coldly and lucidly sustained criticism of those accounts of human agency sometimes termed "folk psychology" (2007, 3-9).