Classical fencing uses the foil, épée, and sabre according to these older practices.

* Classical fencing and historical swordsmanship classes at the Higgins

Classical fencing is the styles of modern fencing as they existed during the 19th and early 20th century.

Classical fencing weapons included the standard foil, épée ( with a variety of different tips, including pointes d ' arret ), and sabre ( including both blunted dueling sabres and, beginning in the early 20th century, modern sporting sabres ).

Classical fencing is a frank encounter between two opponents.

Classical fencing still uses the same weapons that have been used in fencing since the early 19th century — namely, the standard ( non-electric ) foil, standard épée ( with a rubber or plastic tip or equipped with a pointe d ' arret ), and sabre ( including both blunted dueling sabres and modern standard sporting sabres ).

The term Italian school of swordsmanship is used to describe the Italian style of fencing and edged-weapon combat from the time of the first extant Italian swordsmanship treatise ( 1409 ) to the days of Classical Fencing ( up to 1900 ).

In 1883 the Italian Ministry of War selects the treatise by Neapolitan Masaniello Parise to be the official syllabus of the newly-founded Scuola Magistrale of fencing ; now called Classical Italian Fencing, Parise's teachings survive to this day almost unchanged, although many of Radaelli's saber teachings were incorporated.

Abroad, the Italian style is cultivated by professional institutions such as the San Jose State fencing program ( California, USA ), where Maestro William Gaugler runs a program largely based on the Classical style of Parise.

Although Classical Italian fencing is practiced and preserved in several places around the world ( see above ), there are no masters who can trace their maestro-pupil lineage to earlier than the second half of the 18th century.

A language like Classical Chinese instead uses unbound (" free ") morphemes, but depends on post-phrase affixes, and word order to convey meaning.

* Structure and Interpretation of Classical Mechanics ( SICM ), another book by Gerald Jay Sussman that uses Scheme

Classical scholarship uses the traditional spelling.

Text written in Classical Chinese also uses little or no punctuation.

Classical zabaione uses raw egg yolks, but today many may prefer to cook the custard in a bain-marie.

Classical instrumentalists usually use one-reed harmoniums, while a musician who plays for a qawaali ( Islamic devotional singing ) usually uses a three-reed harmonium.

( Classical Arabic, where the case marking indicates something else, uses a resumptive pronoun.

While the lexis and stylistics of Modern Standard Arabic are different from Classical Arabic, the morphology and syntax have remained basically unchanged ( though MSA uses a subset of the syntactic structures available in CA ).

On the other hand, when vanity, impudence, and debauchery are combined in the " lesser epic " hero ( Pope uses the term " lesser epic " to refer to the satirical epic that would function like a satire play in the Classical theater ), the result is " Buffoonry " that induces laughter and disgust.

* Classical Arabic does not allow clusters at the beginning of a word, and typically uses to break up such clusters in borrowings, e. g. " street " < Latin STRĀTA.

' Classical Greek additionally uses the lenis mark (') and asper mark (,).

Classical Archives uses a proprietary system ( called the Contextual Metadata Engine ) that allows for the ingestion and cataloguing of all recordings based on musicologically accurate and uniform metadata.

Here at least explains, from the Classical viewpoint, its approximate method with a large amount of traditional rationality for its oeuvre heavily reliant on tradition to make conclusions ' as final decisions ' towards conclusions. Foucault uses a rather unusual method involving oeuvre de la obscure meaning the ' obscure ' is seen as the building block for human rationality functioning as norms which become familiar to people, giving the uninformed their ' view ' and ' truth ' of the world. The uninformed means the uninformed who have no direct access to policy decision making therefore condemning those who work into a continuous comatose ignorance producing this network of power systems creating what Marx called ' labour power ' which recreate and recycle a functioning society ( comparable to a living breathing organism ) and the population of producers who have no monetary resources and ownership of capital wealth ; ownership of mines, banks, transportation equipment and machinery, such as aeroplanes car manufacturers and industry and therefore are confined to the bottom of the hiercharchical pyramid, producing the problematization of a society comparable to Ants or Bees which inform evolutionary biology, for example of human nature. While inaccurate and now known to be scientifically flawed, nevertheless it remains ' true ' from the classical perspective as opposed to the working population who are not uneducated or illiterate a wall which can be pieced.

In Classical Latin, the correct form uses the word condicio ( from the verb condico, condicere, to agree upon ), but nowadays the phrase is sometimes used with conditio, which has a different meaning in Latin (" seasoning " from the verb condio, condire, to season, to spice, to pickle, or " foundation " from the verb condo, condere, to lay, to establish ).

Irish uses " cht " where Scottish Gaelic uses " chd ", although " chd " itself was once common in written Irish, as was " cht " in Scottish Gaelic-both being possible in Classical Gaelic.

Montero-Lopez argues that on the basis of analysis of the distribution of deer parts in Classical Maya sites ( white-tailed deer were the most common sacrificial and festive food animal ), the archeological record does not support a clear distinction between the secular and sacred uses of animals.

Like much of his work, Euripides uses the mythology of the Bronze Age to make a political point about the politics of Classical Athens during the Peloponnesian War.

The Italian composer Domenico Scarlatti was an important figure in the transition from Baroque to Classical.

1710 – 14 October 1740 ) was an Italian singer, harpsichordist, and composer whose works bridge the Baroque and Classical periods.

From 1955 onwards, the works of directors of the so-called Polish Film School had a great influence on the contemporary trends such as French New Wave, Italian neorealism or even late Classical Hollywood cinema.

The conception of a " rebirth " of Classical Latin learning is first credited to an Italian poet Petrarch, the father of Humanism, a term that was not coined until the 19th century, but the conception of a rebirth has been in common use since Petrarch's time.

Classical contrapposto was revived in the Renaissance by the Italian artists Donatello and Leonardo da Vinci, followed by Michelangelo, Raphael and other artists of the High Renaissance.

* canere " to sing " > cantāre, a Classical synonym ; frequentative of canere ( French chanter, Romansh chantar, Portuguese / Spanish / Catalan cantar, Italian cantare, Romanian cânta, " to sing ")

* clīvium " mountain " ( a Late Latin word, from Classical clīvus " slope, hill ") > montānia, from Classical montānus " mountainous " ( French montagne, Spanish montaña, Portuguese montanha, Italian montagna )

)" > mercātum, a Classical synonym ( French marché, Italian mercato, Portuguese / Spanish / Galician mercado, Catalan mercat.

* ita " thus " > sīc " yes ", a Classical synonym ( French si ( to contradict negative questions ), Italian sì, Spanish sí, Portuguese sim " yes ", Romanian şi " and ")

* lebes " boiler " > chaldāria (= caldāria ), based on Classical caldārius " related to bathing or hot water " ( French chaudière, Romansh chaldera, Italian caldaia, Occitan caudera, Catalan / Spanish caldera, Portuguese caldeira, Romanian căldare )

* mārēs " males " (< mās ) > māsculī, a Classical synonym ; diminutive of mās ( French mâle, Italian maschio, Portuguese / Spanish macho, Catalan mascle " male ", Romanian mascur " barrow ( castrated boar )" and mare " big ")

)" > occidetur (= occidātur ), a Classical synonym ( Old French occir, Italian uccidere, Occitan / Catalan aucire, Spanish occiso " dead person ", Romanian ucide " to kill ".

)" > grassī, from Classical crassī " fat, thick " ( French gras, Romansh grass, Italian grasso, Occitan / Catalan / Romanian gras, Spanish graso, Portuguese graxo " fat ".

)" > berbicēs, from Late Latin berbex ,-ecis " wether ( ram )", from Classical vervex ( French brebis " ewe ", Italian berbice, Old Occitan berbitz, Romansh barbeisch " ram ", Romanian berbec " ram "; but Portuguese ovelha, Spanish oveja, Catalan ovella, Occitan dial.

* tenet " it bores, it annoys " ( Classical " it holds ") > anoget, latinization of Proto-French * anoiet ( Old French anoie ), from anui, anoi " annoyance ", from the phrase mihī in odiō est " it is hateful to me " ( French ennui, Italian noia, Occitan anuèg, Catalan enutg, Spanish enojo, Portuguese nojo )

)" > fortiam, from Classical fortis " strong " ( French force, Romansh / Italian forza, Occitan / Catalan força, Spanish fuerza, Portuguese força, Romanian foarte " very ( much ); intense ")

* sī vīs " if you want " > sī volēs, Vulgar Latin * volēre, regularized from Classical velle " to want " ( French tu veux, Italian ( tu ) vuoi, Catalan ( tu ) vols, Romanian ( tu ) vrei or ( tu ) vei, " you want ")

Many of the forms castigated in the Appendix Probi proved to be the productive forms in Romance ; e. g., oricla ( Classical Latin auricula ) is the source of French oreille, Catalan orella, Spanish oreja, Italian orecchia, Romanian ureche, Portuguese orelha, " ear ", not the Classical Latin form.

Modern Italian has the adjective Egea (" Aegean "), but Classical Latin had none.

During the early 20th century, archaeological excavations conducted by the Italian Archaeological School and by the American Classical School on the Athenian Acropolis and on other sites within Attica revealed Neolithic dwellings, tools, pottery and skeletons from domesticated animals ( i. e. sheep, fish ).

In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed.

Nevertheless, the strictures of the Classical critics influenced the next great Italian epic, Torquato Tasso's Gerusalemme Liberata ( 1581 ).

In addition to these core subjects pupils choose, in a wide variety of combinations, four other subjects from History, Geography, Latin, Classical Civilisation, Greek, German, Spanish, Italian, Biology, Chemistry, Physics, Music, Art and Design Technology.