"antiquification" meaning in English

{
  "etymology_templates": [
    {
      "args": {
        "1": "en",
        "2": "antique",
        "3": "ification"
      },
      "expansion": "antique + -ification",
      "name": "suffix"
    }
  ],
  "etymology_text": "From antique + -ification.",
  "head_templates": [
    {
      "args": {
        "1": "-"
      },
      "expansion": "antiquification (uncountable)",
      "name": "en-noun"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "noun",
  "senses": [
    {
      "categories": [
        {
          "kind": "other",
          "name": "English entries with incorrect language header",
          "parents": [
            "Entries with incorrect language header",
            "Entry maintenance"
          ],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "English terms suffixed with -ification",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with 1 entry",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with entries",
          "parents": [],
          "source": "w"
        }
      ],
      "examples": [
        {
          "ref": "2004, Kenneth Kreitner, “5. Cornago and Urrede”, in The Church Music of Fifteenth-Century Spain, The Boydell Press, →ISBN, page 78:",
          "text": "Many of these later versions are, oddly, put into duple meter; for an edition of one such, based on Granada 3, see José López Calo, La música en la catedral de Granada en el siglo XVI (Granada, 1963), vol. II, pp. 151–3, commentary pp. xxi–xxii. Burgos s.s. puts the piece in 𝄵 meter, and Plasencia 4 in Ͼ, which makes no sense and may be a selfconscious antiquification.",
          "type": "quote"
        },
        {
          "ref": "2007, Jeffrey Walker, Reading Cooper, Teaching Cooper, AMS Press, →ISBN, page 336:",
          "text": "Describing a process of antiquification-through-layering, Cooper lays a theoretical groundwork for localities to take on historical interest regardless of chronological age, and reciprocally, suggests one can, by focusing on local layers, elicit the sense of antiquity which seemed so elusive in the United States as a whole.",
          "type": "quote"
        },
        {
          "ref": "2013, Lewis Watts, Eric Porter, “Section 2: Reflections on Jazz Fest 2006”, in New Orleans Suite: Music and Culture in Transition, University of California Press, →ISBN, page 29:",
          "text": "Regis discusses what she terms the “antiquification” of black cultural practices in photographic representations of the second line. She suggests that while such images may on the one hand challenge stereotypical images of black people as criminal, corrupt, or otherwise pathological, consigning these groups to the past not only makes invisible the dynamism of continually evolving second line practices, but may “provide [to those outside that community] illusionary access to a world they would never otherwise be able to enter. … It creates a virtual communion across boundaries of race, class, and culture.”",
          "type": "quote"
        },
        {
          "ref": "2018, Beáta Hock, Anu Allas, editors, Globalizing East European Art Histories: Past and Present, Routledge, →ISBN, “Deterritorialization and Reterritorialization: Diaphanous Borders, Retro-modernism, and a Sort of Amorphousness:",
          "text": "The “antiquification” and “southernization” of Poland at work in Jutrzenka resonated with other contemporaneous attempts to move Poland away from the Slavonic sphere, to de- and reterritorialize it, as it were.",
          "type": "quote"
        }
      ],
      "glosses": [
        "The process of antiquifying."
      ],
      "id": "en-antiquification-en-noun-SHALNPPr",
      "links": [
        [
          "antiquify",
          "antiquify"
        ]
      ],
      "related": [
        {
          "word": "antiquify"
        }
      ],
      "tags": [
        "uncountable"
      ]
    }
  ],
  "word": "antiquification"
}

{
  "etymology_templates": [
    {
      "args": {
        "1": "en",
        "2": "antique",
        "3": "ification"
      },
      "expansion": "antique + -ification",
      "name": "suffix"
    }
  ],
  "etymology_text": "From antique + -ification.",
  "head_templates": [
    {
      "args": {
        "1": "-"
      },
      "expansion": "antiquification (uncountable)",
      "name": "en-noun"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "noun",
  "related": [
    {
      "word": "antiquify"
    }
  ],
  "senses": [
    {
      "categories": [
        "English entries with incorrect language header",
        "English lemmas",
        "English nouns",
        "English terms suffixed with -ification",
        "English terms with quotations",
        "English uncountable nouns",
        "Pages with 1 entry",
        "Pages with entries"
      ],
      "examples": [
        {
          "ref": "2004, Kenneth Kreitner, “5. Cornago and Urrede”, in The Church Music of Fifteenth-Century Spain, The Boydell Press, →ISBN, page 78:",
          "text": "Many of these later versions are, oddly, put into duple meter; for an edition of one such, based on Granada 3, see José López Calo, La música en la catedral de Granada en el siglo XVI (Granada, 1963), vol. II, pp. 151–3, commentary pp. xxi–xxii. Burgos s.s. puts the piece in 𝄵 meter, and Plasencia 4 in Ͼ, which makes no sense and may be a selfconscious antiquification.",
          "type": "quote"
        },
        {
          "ref": "2007, Jeffrey Walker, Reading Cooper, Teaching Cooper, AMS Press, →ISBN, page 336:",
          "text": "Describing a process of antiquification-through-layering, Cooper lays a theoretical groundwork for localities to take on historical interest regardless of chronological age, and reciprocally, suggests one can, by focusing on local layers, elicit the sense of antiquity which seemed so elusive in the United States as a whole.",
          "type": "quote"
        },
        {
          "ref": "2013, Lewis Watts, Eric Porter, “Section 2: Reflections on Jazz Fest 2006”, in New Orleans Suite: Music and Culture in Transition, University of California Press, →ISBN, page 29:",
          "text": "Regis discusses what she terms the “antiquification” of black cultural practices in photographic representations of the second line. She suggests that while such images may on the one hand challenge stereotypical images of black people as criminal, corrupt, or otherwise pathological, consigning these groups to the past not only makes invisible the dynamism of continually evolving second line practices, but may “provide [to those outside that community] illusionary access to a world they would never otherwise be able to enter. … It creates a virtual communion across boundaries of race, class, and culture.”",
          "type": "quote"
        },
        {
          "ref": "2018, Beáta Hock, Anu Allas, editors, Globalizing East European Art Histories: Past and Present, Routledge, →ISBN, “Deterritorialization and Reterritorialization: Diaphanous Borders, Retro-modernism, and a Sort of Amorphousness:",
          "text": "The “antiquification” and “southernization” of Poland at work in Jutrzenka resonated with other contemporaneous attempts to move Poland away from the Slavonic sphere, to de- and reterritorialize it, as it were.",
          "type": "quote"
        }
      ],
      "glosses": [
        "The process of antiquifying."
      ],
      "links": [
        [
          "antiquify",
          "antiquify"
        ]
      ],
      "tags": [
        "uncountable"
      ]
    }
  ],
  "word": "antiquification"
}