I. Principles of Classic Style:

Francis Nor Thomas and Mark Turner. Clearly simple as the truth: please write classical prose. (Princeton University Press, paper, 2011). ND

A. Origin of classical style in style concepts, writing and dialogue, skills created by intellectual activities, true presentation paradigm, style inherent in behavior (Aristotle), style diversity, Enlightenment

B. I know a classic style, a series of favorable habits Samuel Johnson (not) and La Rochefoucauld (classic).

C. Style elements, Euclidean elements, Periodic tables, preliminary questions (page 19), style manuals, surface features, and deep style

1. Truth, an egalitarian hypothesis, simple observation is not mysterious, intolerable knowledge, or accidental, "The artist wanting to persuade is restricted from speaking something that the audience does not want to believe." "(Page 32)

Speech, Jefferson (classical) and Bentham (not), CS. I did not draw a person's attention (romantic)

4. Actor, elite but not exclusive, reader's abilities, Dodd (classic) and Foucault (not), true, complete, competent, assuming that the writer works behind the scenes

Irrespective of thought and language, thought, irrelevant to expression, language is enough

E. Other parentheses, other styles, high, medium, low, elegant, restraint, sublime (enlargement), lighting, lighting, classical and minimalist style, classical and practical styles, classical and meditation styles, classical and romantic style, Classical and predictive style, classical, speaking style

All of these materials and more will appear in the first part of the book, "Principles of Classical Style". The second part (the "museum") has shown and does comment on classical quotations that are not classical over centuries and always spanning language (always accompanied by English translation). The third part ("Studio") has been added for the second edition (2011) and offers a range of innovative exercises for developing classical style. I am looking forward to using them in my writing class. Most schools and universities are writing actual style distortions. Students pretend that they are writing notes. He pretends to be more familiar to the reader than to the reader, and his job is to spread the message in a way that the reader can analyze easily. It is necessary to make this pretend to be practical practice

A few years later, French artist Claude Loran painted another imaginary landscape, idyllic countryside scenery. Like Poussin, Roland works living in Rome and studies classical artifacts in cities and their villages. Lorrain often uses scenes to draw explanations in ancient text from poet writers such as Virgil. This painting made of copper shows an unspeakable landscape filled with mention of the ancient world by architectural relics. Two small characters show gestures from the lower right corner to guide the viewer's eyes to the subject. It is the landscape itself. His style of brush is relaxing, creating an ambiguous atmosphere. Lorain often goes to the countryside outside Rome