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Author: Grafiati
Published: 26 July 2024

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1

Gower, Terence. Cuidad moderna: Terence Gower video works. Mexico City: A&R Press, 2006.

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2

Coyle, Terence. Terence Coyle: A retrospective, at 80 : selected works from 1955 to 2005. New York, NY: Jo-An Pictures, 2005.

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3

Grehan, Farrell. Visions of Wright: With excerpts from the writings of Frank Lloyd Wright ; introduction by Terence Riley. Boston: Little, Brown, 1997.

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4

1945-, Brown Peter, ed. The comedies. Oxford: Oxford University Press, 2006.

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5

Cathcart, James. The work of James Keyden Cathcart, Frank Fantauzzi, Terence Van Elslander. Bloomfield Hills, Mich: Cranbrook Academy of Art, 1990.

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6

Duso, Antonella, editor, translator, writer of added commentary, Varro Marcus Terentius, and Varro Marcus Terentius, eds. M. Terenti Varronis De lingua Latina IX. Hildesheim: Georg Olms Verlag, 2017.

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7

Krężel, Janusz. Szare szeregi na terenie południowo-wschodniej Polski. Tarnow: [s.n.], 1996.

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8

(Project), Olhares Cruzados, and Imagem da Vida (Organization), eds. Brasil Bolívia: Olhares cruzados : Mãe Terra, Challapampa = Brasil Bolívia : miradas cruzadas : Mãe Terra, Challapampa. São Paulo, Brazil]: Imagem da Vida, 2008.

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9

1957-, Gryczyński Adam, ed. Czas zatrzymany: Fotografie z lat 1883-1963 z terenów Nowej Huty i okolic oraz wybór tekstów. Kraków: Nowohuckie Centrum Kultury, 2006.

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10

Krupa, Piotr. Ektomikoryzy i ich znaczenie dla drzew rosnących na terenach zanieczyszczonych metalami ciężkimi. Katowice: Wydawn. Uniwersytetu Śląskiego, 2004.

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11

Terence. Cambridge, Mass: Harvard University Press, 2001.

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12

Terence. Terence: Phormio. Focus Publishing/R. Pullins Company, 1996.

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13

Goldberg, Sander M. Terence: Andria. Cambridge University Press, 2022.

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14

Goldberg, Sander M., and Terence. Terence: Hecyra. Cambridge University Press, 2013.

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15

Goldberg, Sander M. Terence: Andria. Cambridge University Press, 2022.

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16

Goldberg, Sander M., and Terence. Terence: Hecyra. Cambridge University Press, 2013.

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17

Goldberg, Sander M. Terence: Andria. Cambridge University Press, 2022.

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18

Marshall, C. W., Sander M. Goldberg, and Niall W. Slater. Terence: Andria. Bloomsbury Publishing Plc, 2019.

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19

Terence: Andria. Bloomsbury Academic, 2019.

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20

Maltby, Robert, ed. Terence: Phormio. Liverpool University Press, 2012. http://dx.doi.org/10.3828/liverpool/9780856686061.001.0001.

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Terence's Phormio, based on a Greek original by Apollodorus of Carystus, was produced towards the end of his short dramatic career in 161 BC. With its lively action, based on the traditional elements of love, deception and mistaken identity, the play provides an ideal introduction to the genre of New Comedy. What makes the Phormio unique amongst Terence's works is the central importance of the witty and scheming parasite who gives his name to the play and directs and controls its action throughout, even when absent from the stage. The use of the 'double' plot with its two young men in love and two contrasting fathers provides ample scope for depth and variety of characterisation. The aim of the present edition is to bring out to the full, Terence's skill in plot development and character portrayal which was to make the Phormio one of his most entertaining plays. The book consists of ludes Latin text with facing-page translation, introduction and commentary.
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21

Gower, Terence. Form, Model, Syntax, Display: Terence Gower Sculpture Works. Black Dog Publishing Limited, 2019.

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22

Gratwick, A. S. Terence: The Brothers (Classical Texts). 2nd ed. Aris & Phillips, 1999.

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23

Gratwick, A. S. Terence: The Brothers (Classical Texts). Aris & Phillips, 2001.

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24

Gratwick, A. S. Terence: Brothers/Latin (Classical Texts). Aris & Phillips, 1988.

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25

Mercier, Charles. Terence: Brothers Adelphoe (Focus Classical Library). Focus Publishing/R. Pullins Company, 1999.

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26

Gratwick, A. S. Terence: The Brothers/Latin-English (Classical Texts). Aris & Phillips, 1988.

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27

Ireland, S. Terence: The Mother-In-Law (Classical Texts). Aris & Phillips, 1990.

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28

Terence. Terence: The Eunuch (Classical Text Ser). Aris & Phillips, 2000.

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29

Cole, Giles. Art of Concealment: The Life of Terence Rattigan. Oberon Books, Limited, 2012.

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30

Donatus, Aelius Aelius, and Carmela Cioffi. Aeli Donati Quod Fertur Commentum Ad Andriam Terenti. de Gruyter GmbH, Walter, 2017.

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31

Donatus, Aelius Aelius, and Carmela Cioffi. Aeli Donati Quod Fertur Commentum Ad Andriam Terenti. De Gruyter, Inc., 2017.

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32

Zagorski-Thomas, Simon. The Spectromorphology of Recorded Popular Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0016.

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This chapter explores the cognitive processes involved in listening to electronically mediated music. Drawing on theories of embodied cognition, the chapter argues that the record-production process can result in “sonic cartoons,” with certain aspects of a performance accentuated and others attenuated. This can lead to paradoxical listening experiences, such as an acoustic sound rendered antinaturalistically or an electronic sound imitating the behavior of a real sound-producing event. The chapter illustrates these perceptual ambiguities with examples of spectrographic analyses of acoustic works by Shania Twain and Terence Blanchard, in addition to electronic works by Aphex Twin and William Orbit.
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33

Dixon, Wheeler Winston. The Films of Terence Fisher. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.001.0001.

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Tracing the entire career of the British director Terence Fisher, best known for his Gothic horror films for Hammer — such as The Curse of Frankenstein (1957) and Dracula (1958) — this book covers not only his horror films, but also his film noirs, comedies, and early apprenticeship work to create a full picture of Fisher's life and work. Brimming with rare stills, interviews, and detailed analysis of Fisher's films — both for Hammer as well as his earlier work — this is the ultimate “one-stop” book on Terence Fisher, both in his horror films, and his entire body of work, as well as his legacy to the British cinema.
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34

Fleckeisen, Alfred, and Publius Terentius Afer. P. Terenti Afri Comoediae. de Gruyter GmbH, Walter, 2011.

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35

Terenure in Old Photographs. The History Press Ltd, 2014.

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36

Harmes, Marcus K. The Curse of Frankenstein. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733858.001.0001.

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Critics abhorred it, audiences loved it, and Hammer executives were thrilled with the box office returns: The Curse of Frankenstein was big business. The 1957 film is the first to bring together in a horror movie the 'unholy two', Christopher Lee and Peter Cushing, together with the Hammer company, and director Terence Fisher, combinations now legendary among horror fans. This book goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literary adaptation of Mary Shelley's novel; as a film that had, for legal reasons, to avoid adapting from James Whale's 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. Later Hammer horrors may have consolidated the reputation of the company and the stars, but these works had their starting point in the creative and commercial choices made by the team behind The Curse of Frankenstein. In the film sparks fly, new life is created and horrors unleashed, but the film itself was a jolt to 1950s cinemagoing that has never been entirely surpassed.
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37

The Comedies (Oxford World's Classics). Oxford University Press, USA, 2008.

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38

Farmer, James, and Rex Koontz, eds. Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder. University of Houston Libraries, 2022. http://dx.doi.org/10.52713/vjqb6067.

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This book examines the scholarly work of Terence Grieder, an early pre-Columbian art historian of wide-ranging interests and often provocative stances. Through a series of topical essays focused a variety of Pre-Columbian art historical topics, former students, professional colleagues, and other intellectual descendants discuss his major ideas through examples drawn from their own work. The work of those he mentored and interacted with is, in the end, the most important testament to his continuing influence in the field.
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39

Partridge, Christopher. Psychedelic Shamanism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190459116.003.0009.

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The final chapter discusses a number of post-1960s developments, focusing particularly on the ideas of two influential thinkers who were shaped in different ways by the psychedelic revolution, Carlos Castaneda and Terence McKenna. Central to the thought of both of them was the significance of shamanism. The chapter also discusses the emergence of interest in constructing contemporary indigenous and ancient shamanic cultures as psychedelic cultures. Since the late nineteenth century, there has been a growing interest in the uses of psychoactive plants in indigenous religious contexts. This interest was particularly stimulated by the work of R. Gordon Wasson, whose theories are discussed.
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40

DICTIONARY OF HIBERNO-ENGLISH: IRISH USE OF ENGLISH; ED. BY TERENCE PATRICK DOLAN. 2nd ed. DUBLIN: GILL & MACMILLAN, 2004.

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41

Boutcher, Warren. The Essais Framed for Modern Intellectual Life. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198739661.003.0007.

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The core topic of 2.6 is two modern reader-writers of Donald Frame’s American translation of the Essais (Gore Vidal and David Denby). We consider a range of related intellectual contexts for Frame’s work, a product of the culture of liberal education and of American liberal individualism: modern, pedagogical versions of ‘human philosophy’; the educational goals of elite institutions such as the École Normale Supérieure and Columbia University; the legacy of Pierre Villey’s work in twentieth-century Montaigne studies. We see how twentieth-century humanists in America and Europe called up the real person ‘Montaigne’ from behind his text and made him explain that text’s value to idealist programmes of general literary education. The chapter includes discussions of figures in the German idealist tradition such as Auerbach,and Burckhardt, as well as the critic of Renaissance ‘self-fashioning’, Stephen Greenblatt, and the British critic Terence Cave.
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42

Czas zatrzymany: Fotografie z lat 1883-1963 z terenow Nowej Huty i okolic oraz wybor tekstow. Krakow: Nowohuckie Centrum Kultury, 2006.

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43

Kerrigan, Charlie, and Simon Goldhill. Living Latin. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350377066.

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What kind of language is Latin, and who is it for? Contrary to most accounts, this book tells the story of Latin as a language of ordinary people. Surveying the whole span of the language’s history, it explores the evidence that exists for ordinary Latin around the Roman world, arguing that this material is just as worthy of readers’ attention as the famous classics. Those classics are reassessed in the light of popular concerns, as works of art that evoke ancient, sustainable, and communal ways of living, encompassing broad and diverse traditions of readers through time. And of course Latin lived on: this account revisits what happened to the language after the Roman empire, tracing its twin streams — intellectual lingua franca and a series of Romance languages — into the twenty-first century. What emerges is a human chain stretching back thousands of years and still in existence today, a story of workers and weavers, violets and roses, storytellers and musicians, a common and democratic archive of world history. Kerrigan’s strong and attractive case for a new conception of Latin sends out a call to arms to reevaluate the place of Latin in history. On the one hand, an interesting and readable history of the language, on the other, this book sets out to provoke questions for readers, students, and teachers of Latin, as well as anyone interested in the ancient Mediterranean world. Latin was and should always be for all. This historical essay goes in search of the Latin of ordinary people, gathering a wide body of evidence to explore the diversity of the language through time, as well as the role that some of Latin’s most famous texts (the comedies of Plautus and Terence, Virgil’s Aeneid and Ovid’s Metamorphoses) have played in popular culture, from the streets of medieval Naples to contemporary music and film. Based in the latest scholarship and drawing on both Irish and international contexts, this book presents a new take on an old and influential language.
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44

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

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Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.
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45

Brink, David O., Susan Sauvé Meyer, and Christopher Shields, eds. Virtue, Happiness, Knowledge. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198817277.001.0001.

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Fifteen leading philosophers explore a set of themes from the pioneering work of Gail Fine and Terence Irwin, in ancient philosophy but also in later periods and in systematic philosophy. The contributors discuss knowledge, rhetoric, freedom and practical reason, virtue and the good life, ethics and politics in Plato and Aristotle and beyond. The editors offer an introduction charting the scholarly contributions of Fine and Irwin and assessing their individual and joint impact, together with a complete bibliography of their writings. This volume is a token of our immense gratitude to Gail Fine and Terry Irwin for the benefit we have derived from their penetrating scholarly work. Through their writing, their teaching, their mentoring, and their broader scholarly output, Gail Fine and Terry Irwin have reshaped the character of Ancient Philosophy as an academic discipline. Their contributions to the discipline do not, however, end there. On the contrary, their wide-ranging achievements extend into all periods of the history of philosophy and indeed into several areas more systematic than historical.
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46

Koresky, Michael. Bathed in the Fading Light. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038617.003.0001.

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This chapter examines the film career of British director Terence Davies. The cinema of Davies is one of contradictions—between beauty and ugliness, the real and the artificial, progression and tradition, motion and stasis. These opposites reflect a certain struggle, for the filmmaker and his characters, to make sense of a confusing and sometimes violent world. For Davies, this struggle constitutes a reckoning with his past, a highly personal account of a fractured childhood; for the viewer it has resulted in one of the richest, most idiosyncratic, and arrestingly experimental bodies of work put out by a narrative filmmaker. The chapter focuses on the distinct emotional quandaries Davies' films evoke in the viewer and proposes that their tonal and political in-betweenness is a form of cinematic queering. Through the exploration of their contradictions, these films function within seemingly recognizable generic parameters only to then explode and thus queer conventional notions of narrative cinema.
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47

Tweedie, James. Moving Pictures, Still Lives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.001.0001.

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Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century, exploring the work of artists and philosophers who complicated the usual association between the past and tradition or the future and modernity. The book retraces the “archaeomodern turn” in media and theory that viewed the past as a repository of abandoned but potentially transformative modern experiments. Three theoretical chapters consider key figures—Walter Benjamin, Gilles Deleuze, and Serge Daney—who grappled with the late twentieth century’s characteristic concerns, including history, memory, and belatedness. It reframes this theoretical work on film as a mourning play for revolutions past and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Like Daney, the book emphasizes the value of looking at cinema and the century in the “rear—view mirror,” at the aging of a quintessentially modern art like film, and at the phantoms that remain after the passage into the era of new media. The second part of the manuscript, titled “The Cinema of Painters,” is structured around a series of interactions among media, filmmakers, and national traditions. It examines late twentieth—century filmmakers who systematically adopt strategies normally associated with other visual media or art forms, especially painting. Focusing on Alain Cavalier, Terence Davies, Jean—Luc Godard, Peter Greenaway, Derek Jarman, and AgnèVarda, the book concentrates on films that fill the frame with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes.
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48

Gebhardt, Mareike, ed. Staatskritik und Radikaldemokratie. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748900474.

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This anthology discusses Jacques Rancière’s political thinking from the perspective of political theory. It particularly focuses on the relationship between democracy, governance and statehood. The first contributions discuss key theoretical concepts in Rancière’s thinking, which is then addressed in terms of its discrepancies. In this context, the authors address the areas in which Rancière’s political theory and other works from the 20th and 21st centuries that relate to democratic and political theory overlap and clash. In a final section, the authors subject Rancière’s political thinking to a critical appraisal using queer and feminist, postcolonial and anarchistic theorisations in order to highlight its shortcomings and to use Rancière to challenge Rancière. With contributions by Marvin Dreiwes, Matthias Flatscher, Mareike Gebhardt, Johannes Haaf, Anastasiya Kasko, Alexander Kurunczi, Christian Leonhardt, Thomas Linpinsel, Niklas Plätzer, Kenneth Rösen, Luca Sagnotti, Sergej Seitz, Anna-Terese Steffner de Marco and Carolin Zieringer.
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