Relevant bibliographies by topics / Art berbère

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art berbère'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Art berbère"

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Salhi, Mohand Akli, and Nabila Sadi. "Le Roman Maghrebin En Berbère." Contemporary French and Francophone Studies 20, no. 1 (2016): 27–36. http://dx.doi.org/10.1080/17409292.2016.1120548.

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Rosen, Lawrence, Michael Brett, and Elizabeth Fentress. "The Berbers." Journal of the Royal Anthropological Institute 3, no. 3 (1997): 623. http://dx.doi.org/10.2307/3034796.

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Digard, Jean-Pierre. "Camille Lacoste-Dujardin, Dictionnaire de la culture berbère en Kabylie." L'Homme, no. 182 (May 2, 2007): 263–64. http://dx.doi.org/10.4000/lhomme.4195.

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Rasmussen, Susan. "The Berbers:The Berbers." American Anthropologist 99, no. 1 (1997): 211–12. http://dx.doi.org/10.1525/aa.1997.99.1.211.

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Bonte, Pierre. "Hélène Claudot-Hawad, ed., Berbères ou Arabes ?" L'Homme, no. 190 (January 1, 2009): 225–28. http://dx.doi.org/10.4000/lhomme.28734.

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Benstead, Lindsay J., Lindsay J. Benstead, and Megan Reif. "Polarization or Pluralism? Language, Identity, and Attitudes toward American Culture among Algeria’s Youth." Middle East Journal of Culture and Communication 6, no. 1 (2013): 75–106. http://dx.doi.org/10.1163/18739865-00503005.

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Muslim and Arab identities have long been instrumentalized to forge unifying national and regional identities. The impact of Algeria’s post-colonial Arabization policies that educated people in Standard Arabic (to the exclusion of dialectal Arabic, Berber, or French) on economic cleavages and attitudes has been underexplored. Algeria has been described as polarized, with cultural and religious cleavages between Arabs and Berbers and traditionalists and modernists blamed for the country’s instability. Questions from a 2004 survey of 820 Algerian students allow us to distinguish between maternal
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Bratu, Mihaela. "Terms of Reference in the Berber History, Tradition and Art in Maghreb." Anastasis. Research in Medieval Culture and Art 6, no. 1 (2019): 176–87. http://dx.doi.org/10.35218/armca.2019.1.08.

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Mauri, Simone. "A typological analysis of the Chained-Aorist construction in Ayt Atta Tamazight (Berber)." Studies in Language 41, no. 1 (2017): 198–222. http://dx.doi.org/10.1075/sl.41.1.06mau.

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Clause-linking mechanisms are subject to cross-linguistic variation. As far as non-subordinate clauses are concerned, any combination of two clauses may show two predicates mutually equal or different in terms of finiteness: these are known as co-ranking and clause-chaining structures, respectively (Longacre 2007: 375). Clause-chaining constructions show two structural possibilities, namely medial-final and initial-medial chaining, depending on whether the more-finite verb follows or precedes the less-finite one. Clause-chaining constructions are found in unrelated language families scattered
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Gussenhoven, Carlos. "Zwara (Zuwārah) Berber." Journal of the International Phonetic Association 48, no. 3 (2017): 371–87. http://dx.doi.org/10.1017/s0025100317000135.

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Zwara Berber is a variety of Nafusi (ISO 639-3; Lewis, Simons & Fennig 2016) which belongs to the eastern Zenati group within northern Berber (where Berber is the scientific term for Tamazight), a branch of Afro-Asiatic. Zwara (Zuwārah, Zuwara, Zuāra, Zuara, Zouara) is a coastal city located at 32.9° N, 12.1° E in Libya. The speakers refer to themselves as /at ˈwil.lul/ (also /ajt ˈwil.lul/) ‘those of Willul’ and to their specific variety of the language as /t.ˈwil.lult/ ‘the language of Willul’. Having no official status during the Italian colonization of Libya and the first period after
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Galand, Lionel. "L'apport de la linguistique fonctionnelle aux études berbères." La linguistique 45, no. 1 (2009): 123. http://dx.doi.org/10.3917/ling.451.0123.

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Dissertations / Theses on the topic "Art berbère"

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Candau, Joël. "Les décors tissés dans les régions berbérophones : aspects techniques, esthétiques, sociaux et symboliques." Nice, 2009. http://www.theses.fr/2009NICE2011.

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Cette thèse traite du tissage artisanal décoratif des tapis et des nattes des régions berbérophones du Maghreb. Trois grands domaines organisent notre recherche. Avec les aspects techniques sont évoquées les modalités de fabrication de ces deux œuvres d’art traditionnelles : les processus techniques sont décrits depuis l’arrachage des plantes jusqu’aux produits finis. A travers les aspects esthétiques sont ensuite décrites les différentes phases de transformation relatives aux matériaux utilisés : la macération, l’exposition et la coloration de l’alfa pour la natte ; la tonte, le lavage et le
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Triki, Loubna. "L’artisanat berbère : permanence des matériaux, symbolisme des formes : étude historique et anthropologique, de l’Antiquité à nos jours." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100120/document.

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La culture berbère trouve ses origines dans la lointaine protohistorique, elle se voit dans le lien indéfectible à la terre, le sens de la communauté, le rapport au sacré, et l’hospitalité. L’artisanat est aussi l’un des modes d’expression de cette culture traditionnelle. Cet art authentique a longtemps été souvent méprisé tout au moins minorisé, devant une industrialisation très avancée. C’est le temps de faire connaitre à tous les codes d’un savoir-faire ancestral en voie de disparition.L’art berbère est à proprement parler un art abstrait, un art primitif, une pure création de l’esprit guid
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Hanif, Aicha. "Étude ethno-archéologique de la céramique dans la moyenne vallée du Draa sud-marocain." Paris 1, 1999. http://www.theses.fr/1999PA010640.

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La production céramique dans la moyenne vallée du Draa au sud du Maroc n'a jamais fait l'objet d'aucune étude. C'est ce vide qui m'a poussé à approcher de près cette activité actuelle. L'intérêt a été porté aussi aux productions anciennes. J'ai établi pour la première fois une carte de localisation de tous les anciens centres de production et j'ai constaté un nombre considérable d'ateliers abandonnés. Dans le cadre de l'étude archéologique, le choix a été limité à une dizaine d'ateliers qui ont donné une chronologie relative qui va du VIIe jusqu'au début du XXe siècle. Un tableau chronologique
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Bravin, Alessandra. "L'art rupestre de la phase des cavaliers au Maroc : les sites de Foum Chenna (Vallée du Draa) et du Jebel Rat (Haut Atlas) : Analyse iconographique, thématique et proposition de chronologie." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3119.

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La première partie présente les caractères généraux de la phase dite « libyco-berbère » dans la littérature. La lecture minutieuse de la bibliographie y est suivie de l'analyse de la notion de « libyco-berbère », d'où il ressort que celle-ci ne permet pas de définir adéquatement la phase en question et qu'il est donc nécessaire de la remplacer par une nouvelle dénomination : la « phase des cavaliers ». Ses traits distinctifs sont passés en revue : introduction du cheval au Maroc, iconographie, style et en replaçant la problématique dans le contexte du Maroc du Ier millénaire av. J.-C. La deuxi
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Bououd, Ahmed. "Grammaire et syntaxe d'un parler berbère, Ait Sadden (Maroc))." Paris, INALCO, 1990. http://www.theses.fr/1990INAL0003.

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Ce travail est une description des unités significatives d'un parler berbère, celui des Ait Sadden, situé à l'est de Fès (Maroc). Il s'inspire de la méthode fonctionnaliste recommandée par A. Martinet. Dans un premier temps, l'analyse nous a livré une identification et un classement des unités significatives sur la base des critères de la compatibilité et de l'exclusion mutuelle. Dans un deuxième temps, sont présentés les résultats de l'analyse en trois parties : inventaire, syntaxe, et synthématique. Dans l'inventaire, nous avons dressé les classes de monèmes définies sur la base de leurs com
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Achab, Ramdane. "La néologie lexicale berbère : 1945-1995 /." Louvain ; Paris : Peeters, 1996. http://catalogue.bnf.fr/ark:/12148/cb36171119r.

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Leguil, Alphonse. "Structures prédicatives en berbère : [soutenance sur travaux] /." Paris : Institut national des langues et civilisations orientales, 1987. http://catalogue.bnf.fr/ark:/12148/cb37700857q.

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Leguil, Alphonse. "Structures prédicatives en berbère : bilan et perspectives /." Paris : l'Harmattan, 1992. http://catalogue.bnf.fr/ark:/12148/cb355031614.

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Louali-Raynal, Naïma. "L'emphase en berbère : étude phonétique, phonologique et comparative /." Sainte-Foy-lès-Lyon (Impasse n° 2, Bd Baron du Marais, 69110) : N. Louali, 1990. http://catalogue.bnf.fr/ark:/12148/cb35568723p.

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Kossmann, Maarten G. "Grammaire du parler berbère de Figuig : Maroc oriental /." Louvain ; Paris : Peeters, 1997. http://catalogue.bnf.fr/ark:/12148/cb36171115c.

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Books on the topic "Art berbère"

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Naji, Salima. Art et architectures berbères du Maroc: Atlas et vallées présahariennes. 2nd ed. Editions la Croisée des chemins, 2008.

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Art et architectures berbères du Maroc: Atlas et vallées présahariennes. Edisud, 2001.

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Les Berbères de l'Atlas: Aït Atta. Yvelinédition, 2013.

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Les gravures rupestres libyco-berbères de la région de Tiznit, Maroc. L'Harmattan, 2009.

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Muḥammad, BūKabbūṭ, та Institut royal de la culture amazighe, ред. Ayt ʻAṭṭā al-ṣaḥrāʼ wa tahdiʼat afllā-n-drā. al-Maʻhad al-Malakī lil-Thaqāfah al-Amāzīghīyah, Markaz al-Tarjamah wa-al-Tawthīq wa-al-Nashr wa-al-Tawāṣul, 2008.

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Peabody Museum of Archaeology and Ethnology., ed. Artistry of the everyday: Beauty and craftsmanship in Berber art. Peabody Museum Press, Harvard University, 2008.

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ʻAlī, Bin-Ṭālib, та ʻAllāsh Ṣabāḥ, ред. al-Tārīkh al-ijtimāʻī wa-al-sīyāsī li-qabāʼil Ayt ʻAṭā al-ṣaḥrāʼ ilá nihāyat al-qarn al-tāsiʻ ʻashar. al-Maʻhad al-Malakī lil-Thaqāfah al-Amāzīghīyah, 2011.

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Mohamed, Elmedlaoui, ed. Syllables in Tashlhiyt Berber and in Moroccan Arabic. Kluwer Academic Publishers, 2002.

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Malāmiḥ min al-tārīkh al-iqtiṣādī wa-al-ijtimāʻī li-qabāʼil Āyt ʻAṭā min khilāl amthālihā: Musāhamah fī tadwīn al-amthāl al-Amāzīghīyah. s.n.], 2003.

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Bartels, Herwig. Zarte Bande aus Marokko: Gewebe der Berber, Sammlung Lucien Viola : Stickereien der Städterinnen, Sammlung Tamy Tazi : eine Ausstellung des Deutschen Textilmuseums Krefeld, 27.08.-12.11.2000. Edited by Deutsches Textilmuseum Krefeld. [Deutsches Textilmuseum], 2000.

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Book chapters on the topic "Art berbère"

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Blilid, Abdelaziz. "Visualization Methods for Exploring Transborder Indigenous Populations." In Advances in Human and Social Aspects of Technology. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-4990-1.ch010.

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This chapter highlights the importance of information visualization using web mapping to shed light on the correlation between social actors. It shows how this method helps to understand if Berber identity beyond frontiers is a reality or just a motto in support of “cultural activism.” The suggested web mapping presents the hyperlinks weaved between websites whose focus is Berber cultural identity. Berbers are the indigenous people of North Africa. They are scattered in Morocco, Tunisia, Algeria, and Libya; they have built a “resistance identity,” including both cultural and political claims, long before the digital age. Since the 1960s they have been struggling for recognition against the state's cultural and political domination in which they live. The analysis of Berbers' relationships amongst each other on the internet is valuable for understanding the main features and issues of this digital connection, its shape, its contents, and actor typology.
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Brett, Michael. "Conversion of the Berbers to Islam/Islamisation of the Berbers." In Islamisation. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474417129.003.0010.

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The title of this chapter begs some three or four questions to be addressed before we get down to the details: Who are, and who were, the Berbers for the purpose of this exercise? Why single out the question of their conversion to Islam as distinct from, say, the conversion of all North Africans, Berbers, Latins and Greeks? And, as a corollary to that, what were they converted from? Finally, what in their case was meant by ‘conversion’ – was it an individual or collective decision to enter into the new faith or a more gradual, incremental assimilation into Islam as it evolved over the centuries? The answers are not straightforward, since the questions themselves are ideologically charged. Some seventy years ago, in La Berbérie musulmane et l’Orient au moyen âge, Georges Marçais gave an answer in the tradition of French colonial historiography; in other words, he took the Berbers for granted as the native population of North Africa which had been turned away from a western Latin Christian civilisation towards the oriental Arab civilisation of Islam by the Arab conquest in the seventh and eighth centuries.
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Aïtel, Fazia. "The First Berber Francophone Writers." In We are Imazighen. University Press of Florida, 2014. http://dx.doi.org/10.5744/florida/9780813049397.003.0003.

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Aïtel, Fazia. "Of Berbers and Beurs, France and Algeria." In We are Imazighen. University Press of Florida, 2014. http://dx.doi.org/10.5744/florida/9780813049397.003.0004.

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Kizzi, Akila. "Indigenous Algerian Women Artists in the French Landscape." In Under the Skin. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0009.

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Exploring the artistic paths of the two Algerian Berberi women artists under French colonisation, this chapter aims to demonstrate how art could be transformed into a powerful expression of anticolonial and feminist thought. Baya Mahieddine (1931–98) distinguished herself in painting while Taos Amrouche (1913–76) was a singer of lyrical Berber songs (chants). In 1947, Surrealist André Breton came across both of their work and fascinated by their authentic artistic style, described them as the ‘beginning of an age of concord and radical break’ with the artistic thought of the era. The social and personal trajectory of the two women gave their art a dimension of the gendered imagination nourished by their ethnic origins. A quest for identity guided their work towards self–understanding, constituting a path to an exploration of the ‘other’. In order to show the impact of their personal experiences on their work, as well as the feminist thinking that emerges along the way, this chapter delves into the social and historical conditions of their artistic practices.
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Aïtel, Fazia. "The Emergence of Berber Consciousness, 1930–1949." In We are Imazighen. University Press of Florida, 2014. http://dx.doi.org/10.5744/florida/9780813049397.003.0002.

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Goldstein, David. "Samuel Ha-Nagid." In Hebrew Poems from Spain. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113669.003.0005.

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This chapter assesses the poetry of Samuel ha-Nagid. Samuel ha-Levi hen Joseph ibn Nagrela was born in Cordoba in 993. After the invasion of the North African Berbers in 1013, he was forced to leave Cordoba, which was sacked, and he settled in Malaga, which was, at this time, part of the Berber province of Granada. The story goes that, while in Malaga, his skill as an Arabic calligraphist came to the attention of the vizier Abu al-Kasim ibn al-Arif, and he was appointed the latter’s private secretary. Before the vizier died, he recommended Samuel to Habbus, king of Granada, who made him vizier in 1027. The Jews henceforth called him Nagid (Prince) as a mark of his eminence within the Jewish community. Samuel was, at one and the same time, poet, rabbi, statesman, and general, and distinguished in each one of these fields. His poems are some of the finest in the whole range of Hebrew literature, and his expertise in the elucidation of Biblical and rabbinic literature was acknowledged by all. His poems are noteworthy for the way in which he was able to inform the artificiality and occasional preciosity of construction with deep and obviously sincere content. Ultimately, his long martial poems are unique in the poetic output of the Spanish Jews.
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Parlayandemir, Gizem. "The Transformation of Ion Perdicaris to Eden Perdicaris as a Retro Scenario and Orientalist Codes in Art." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch049.

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Based on mainly the perspectives of three thinkers, Walter Benjamin, Edward Said, and Jean Baudrillard, in this study, beyond the general perception and “Barbarian” and “Berbers,” the film The Wind and The Lion, which was written and directed by John Milius in 1975 and inspired by a “real” life event that happened in 1904, and the transformation of the man kidnapped in real life, Ion Perdicaris, into a woman, Eden Pedecaris, in the film, and the relationship of this transformation with the “orient” perception, the economic and political infrastructures of this relationship, its roots in Orientalist painting will be discussed through intertextual reading and discourse analysis. The analysis of this film's discourse sustains its importance since not only film scholars but also audiences can receive the discourse of the film via new media presently.
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"Part I: Rock art, scripts and proto-scripts in Africa: The Libyco-Berber example." In Written Culture in a Colonial Context. BRILL, 2012. http://dx.doi.org/10.1163/9789004225244_002.

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"Are Libyco-Berber Horizontal ṯ and Vertical h the Same Sign?" In To the Madbar and Back Again. BRILL, 2017. http://dx.doi.org/10.1163/9789004357617_019.

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Conference papers on the topic "Art berbère"

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Arena, Marinella, and Paola Raffa. "Architetture difensive nelle valli dello Ziz e del Todhra in Marocco." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11385.

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Defensive architecture in the Ziz and Todhra valleys in MoroccoThe earthen architecture of the Todhra and Ziz Valleys in Southern Morocco takes us back to the basic and archetypal forms of building in the Mediterranean. Architectural typology and language together form a cultural background that is strongly rooted in the territory and its inhabitants: the Berbers. The architectures, fragile and in constant decay, represent a treatise of living architecture in which the shapes, proportions and decorations are repeated over time with continuity.This research tries to verify, with data coming fro
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Bevià i Garcia, Màrius, Juan Antonio Mira Rico, Jaime Manuel Giner Martínez, and José Ramón Ortega Pérez. "Arqueología e investigación documental: las defensas pre-abaluartadas de Alacant (España)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11341.

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Archaeology and documentary research: the first bastioned fortifications of Alacant (Spain)In the Courts of the Crown of Aragon held in Monzón (Huesca, 1528) it was raised the need to organise the coast defence of the Kingdom of Valencia through a series of fortification works and the creation and maintenance of militias in order to avoid the attacks and incursions of the Turks and the Berber corsairs. In Alacant (1533), under the auspice of the Duke of Calabria, viceroy of the Kingdom of Valencia, and the design of Joan de Cervelló, noble, military and engineer of King Carlos I and with great
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Geçimli, Meryem, and Mehmet Nuhoğlu. "CULTURE – HOUSE RELATIONS IN THE CONTEXT OF CULTURAL SUSTAINABILITY: EVALUATION ON EXAMPLES." In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/29.

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There are close relationships between the cultural structures of societies and residential areas. The place where the society chooses to live and the ways it is organized is an expression of the cultural structure. Traditional houses are accepted as the most obvious indicator of this situation. One of the ways of preserving cultural sustainability today is to read the design principles of these houses correctly. Culture is about what kind of environment people live in and how they live. Human behaviors are based on cultural references. Religion, view of life and perceptions of the environment
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