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Chromophobia

The English suffixes -phobia, -phobic, -phobe (of Greek origin) occur in technical usage in psychiatry to construct words that describe irrational, disabling fear as a mental disorder (e.g., agoraphobia) and in biology to descibe organisms that dislike certain conditions (e.g., acidophobia). In common usage they also form words that describe dislike or hatred of a particular thing or subject. more...

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Many people apply the suffix "-phobia" inappropriately to mild or irrational fears with no serious substance; however, earlier senses relate to psychiatry which studies serious phobias which disable a person's life. For more information on the psychiatric side of this, including how psychiatry groups phobias as "agoraphobia", "social phobia", or "simple phobia", see phobia. Treatment for phobias may include desensitization (graduated exposure therapy) or flooding.

The following lists include words ending in -phobia, and include fears that have acquired names. In many cases people have coined these words as neologisms, and only a few of them occur in the medical literature. In many cases, the naming of phobias has become a word game.

Note too that no things, substances, or even concepts exist which someone, somewhere may not fear, sometimes irrationally so. A list of all possible phobias would run into many thousands and it would require a whole book to include them all, certainly more than an encyclopedia would be able to contain. So this article just gives an idea of the kind of phobias which one may encounter, certainly not all.

Most of these terms tack the suffix -phobia onto a Greek word for the object of the fear (some use a combination of a Latin root with the Greek suffix, which many classicists consider linguistically impure).

In some cases (particularly the less medically-oriented usages), a word ending in -phobia may have an antonym ending in -philia - thus: coprophobia / coprophilia, Germanophobia / Germanophilia.

See also the category:Phobias.

Phobia lists

A large number of "-phobia" lists circulate on the Internet, with words collected from indiscriminate sources, often copying each other.

Some regard any attempt to create a list of phobias as an irrational endeavor because, theoretically, a person could become conditioned to have a fear of anything. Also, a significant number of unscrupulous psychiatric websites exist that at the first glance cover a huge number of phobias, but in fact use a standard text (see an example below) to fit any phobia and reuse it for all unusual phobias by merely changing the name. For a couple of striking examples.

"... Poor performance or grades. Promotions that pass you by. moths phobia will likely cost you tens, even hundreds of thousands of dollars over the course of your lifetime, let alone the cost to your health and quality of life. Now Moths Phobia can be gone for less than the price of a round-trip airline ticket."
"... The expert phobia team at CTRN's Phobia Clinic is board-certified to help with Russophobia and a variety of related problems. The success rate of our 24 hour program is close to 100%"

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Emily Mason at David Findlay Jr - gallery showing of paintings
From Art in America, 6/1/03 by Robert Berlind

Those suffering from chromophobia should steer clear of Emily Mason's luminous abstractions in oil. Partial to extravagant, close harmonies, she abuts intense magentas and blood oranges, pale violets and deep yellows, often adding a light green or cerulean blue exactly calibrated to produce an optical vibration. While some of her recent paintings are of an allover, full-tilt intensity, in many cases a counterforce, say, a thinned yellow washed over an area of dark underpainting, undercuts the sweetness with a dash of vinegar. Her variegated surfaces may be opaque or layered as transparent washes, glazed or scraped, scumbled, wiped down or sanded. Drawing may be accomplished by accidental flows of paint, by a bold gesture or by the edge where one color meets another.

While some paintings appear reworked over time, others, like Summer's Embers, with its cadmium yellow, hot pink, tomato red and bolt of light green, seem almost to have happened by themselves. Titles such as Beyond the Dunes, Eye to the East and When Rivers Overflow, along with her implied horizons, atmospheric effects and, in some works, aerial views, evoke landscape. Her colors are not precisely after nature, except where they might be taken from flowers or tropical plumage, but the paintings give off a resplendence that could only be outdoors.

Mason works within the improvisational model of Abstract Expressionism, though notably without angst or bravado and at a more tractable scale. The poetry of these paintings is lyric, not epic. Her closest affinity is with Hofmann, whose robust hedonism and interplay of paint's opacity, fluidity and gestural grandeur she transforms into an art of intimacy. And, as with Hofmann, her range includes structural frameworks that intimate a Cubist heritage, as well as open, intuitively generated spaces that can seem without precedent. For all her exuberance, Mason's modesty is integral to her work, and she is, perhaps, at her best in her smaller paintings. Within My Garden, at 32 inches square, demonstrates the dual sense of decorum and excitement, in what seems an effortless interplay of the Apollonian and the Dionysian, that runs throughout her work. A group of gemlike oils on clay board measuring 7 by 5 inches each, sometimes employing metallic leaf and a collagelike geometry, are tantalizing indications of other directions available to her.

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