ODD

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ODD

Abbreviation for oculodentodigital dysplasia (syndrome).

ODD

Abbreviation for:
oxygen-dependent degradation

ODD

Abbreviation for oculodentodigital dysplasia.
References in periodicals archive ?
weird oddness An event like that makes you realise how precious life is and how you should really try to enjoy every moment you can.
By bedtime, we have found a place with flesh flora and fauna, where night sounds mystify us with their oddness.
Braida discusses Cary's translation of Dante, but her treatment of Cary reads oddly inconsequentially, so that even the details of Cary's life remain a little opaque, unexplained, the oddness showing, for instance, in the way she seems to agree that Panizzi rather than Cary should have become Keeper of the Printed Books at the British Museum in 1837: 'in the expanding library, however, a position like Panizzi's involved special qualities of determination, enterprise and energy' (p.
The oddness of Ezekiel and his stories sometimes gives us the cover of competing poetic interpretations.
Crawford carefully balances the intensity and oddness of their private lives with a good portion of humor.
Throughout this courageous work, Hoffman investigates the oddness of the processes, technological and otherwise, that we invent in order to remember.
However neat or decorous the storytelling, the movie respects the oddness of Vincent's refusal; which is to say, it reveals something of the oddness of the normal world by letting Vincent haunt it from a slight remove.
Every now and then, though, a race crops up that throws the oddness of this situation into relief.
The dusty, rather dowdy country of cacti and kibbutzes presented to visitors through the official publications of the tourism ministry leaves no clue as to the vibrancy, the oddness, the intensity of the place.
She will misinterpret his sensitivity as softness, his spirituality as oddness, his money as his cure-all, his romanticism as an attempt to hide something.
Commenting on the large amount of "image of" studies on African Americans, women, and other "marginalized" groups, Richard Dyer has noted that such studies have the "effect of reproducing the sense of oddness, differentness, exceptionality of these groups" while whiteness continues as the norm ("White" 141).
The same poetic force that juggles ontological categories in the Holocaust poems, transforming Creator and victim alike into faceless smoke, or a fleeing refugee into "imaginary man" (in "Instructions for Crossing the Border"), is also behind the metamorphosis of armchairs and balloons into strange and wonderful animals in the delightful group of poems, "Bestiary." The oddest animal of the bestiary is, of course, that predatory biped who "alone/cooks animals, peppers them." But this oddness is only the reverse, witty side of the perception in the Holocaust poems of something radically uncanny about man - abysmally so when he puts on boots and marches people into boxcars, astonishingly so when as victim he manages, despite everything, to survive.