from The American Heritage® Dictionary of the English Language, 4th Edition
- n. Aesthetic attitudes and principles manifested in the art, architecture, and literature of ancient Greece and Rome and characterized by emphasis on form, simplicity, proportion, and restraint.
- n. Adherence to the aesthetic values embodied in ancient Greek and Roman art and literature.
- n. Classical scholarship.
- n. A Greek or Latin expression or idiom.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. All the classical traditions of the art and architecture of ancient Greece and Rome, especially the aspects of simplicity, elegance and proportion
- n. Classical scholarship
- n. A Greek or Latin expression used in an English sentence
from the GNU version of the Collaborative International Dictionary of English
- n. A classic idiom or expression; a classicalism.
from The Century Dictionary and Cyclopedia
- n. An idiom or the style of the classics.
- n. The adoption or imitation of what is classical or classic in style.
- n. Classical scholarship or learning.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. a movement in literature and art during the 17th and 18th centuries in Europe that favored rationality and restraint and strict forms
Sorry, no etymologies found.
Many other contemporaries, often in violent disagree - ment with Maurras and his group, also embraced what they called classicism: Julien Benda, a violent anti - romantic polemicist, highly rationalistic in outlook, recommended classicism.
It will be fun to see how the local form of ballet classicism is looking.
At the opposite end of the scale of cinematic classicism is the offbeat Symbiopsychotaxiplasm: Take One, William Greaves's meta-film from 1968, now released on DVD by Criterion along with its modern companion, Symbiopsychotaxiplasm: Take 2½.
His style is described as classicism with a young modern twist.
These two critical and literary powers brought in the reign of what is called classicism in France.
The liberals, on the other hand, without repudiating classicism, which is a sort of a foster-brother to liberalism, since both trace their origin to the Renaissance, still favored ODESSA: MY FAMILY AND MY SCHOOL the realschule.
It is simply for convenience, therefore, that we study eighteenth-century writings in three main divisions: the reign of so-called classicism, the revival of romantic poetry, and the beginnings of the modern novel.
The writings of the century are here arranged in three main divisions: the reign of formalism (miscalled classicism), the revival of romantic poetry, and the development of the modern novel.
The movements represented by Locke's philosophy, by the rationalizing school in theology, and by the so-called classicism of Pope and his followers, are different phases of the same impulse.
It is that which explains the mixture of "romanticism," "naturalism," and I will add, of "classicism" -- which has been pointed out more than once in Flaubert's work.
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