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1. a loop, ring, or spoon-shaped instrument, attached to a handle and having sharp or blunt edges; used to scrape tissue from a surface.
2. to remove growths or other material from the wall of a cavity or other surface, using a curette.
Miller-Keane Encyclopedia and Dictionary of Medicine, Nursing, and Allied Health, Seventh Edition. © 2003 by Saunders, an imprint of Elsevier, Inc. All rights reserved.


, curet (kyū-ret', kyū-ret'),
Instrument in the form of a loop, ring, or scoop with sharpened edges, attached to a rod-shaped handle, used for curettage.
Farlex Partner Medical Dictionary © Farlex 2012


A surgical instrument with a circular cutting loop at one end. The curet is pulled over the skin lesion in repeated strokes to remove one portion of the lesion at a time.
Mentioned in: Skin Lesion Removal
Gale Encyclopedia of Medicine. Copyright 2008 The Gale Group, Inc. All rights reserved.


, curet (kyūr-et')
Instrument in the form of a loop, ring, or scoop with sharpened edges, attached to a rod-shaped handle, used for curettage.
Medical Dictionary for the Dental Professions © Farlex 2012
References in periodicals archive ?
Although the meaning of this phrase is difficult to recover, I would interpret it as continuing the pattern of allusion to the Orphic Curetes story.
Now in Orphic lore, according to Proclus, Athena is "the leader of the Curetes" and is involved in their dance: (48)
For by this power, says Orpheus, Athena is leader of the Curetes. (Translation Duvick) Here we see an Orphic concern for Athena's association with the Curetes, and in particular with their dance.
He was yet a child, and the Curetes were dancing around him with warlike movement, when the Titans stealthily drew near.
In his description of the parts of Harmonia's necklace Statius refers to the following Orphic/theogonic elements: (1) Morgus the Dactyl (and the story of the death of Zeus on Crete) via the smaragdi; (2) Celmis the Dactyl via the reference to adamas; (3) Athena and the Curetes via the "Gorgon eyes"; (4) the story of the Titanomachy and/or Gigantomachy via the "thunderbolt ash"; (5) the story of Dionysus's death at the hands of the Titans via the Apples of the Hesperides; (56) and (6) the Argonautica tale via the reference to the Golden Fleece (this story vaguely fits the hypothesis because, as mentioned above, both Orpheus and the Dactyls/Curetes figure in it).
We have seen how the general confusion in antiquity regarding the various daimones could lead to the assimilation of the Telchines, Dactyls, and Curetes. In the context of the necklace description this is a convenient fact since Statius explicitly mentions the Telchines as participants in the creation of the object--hence the allusions to the Cretan tale are an extension of this daemonic theme.
(But the variation in these accounts is so small that, whereas some represent the Corybantes, the Cabeiri, the Ideaean Dactyli, and the Telchines as identical with the Curetes, others represent them as all kinsmen of one another and differentiate only certain small matters in which they differ in respect of one another ...; translation Jones, with modifications).