Relevant bibliographies by topics / Funerary monument

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

Academic literature on the topic 'Funerary monument'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Funerary monument"

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Fenichel, Emily A. "Michelangelo’s Pietà as Tomb Monument: Patronage, Liturgy, and Mourning." Renaissance Quarterly 70, no. 3 (2017): 862–96. http://dx.doi.org/10.1086/693883.

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AbstractIn focusing on Michelangelo’s signature, recent scholarship on his “Pietà” in St. Peter’s has separated the sculpture from its spiritual intent. In contrast, this article will consider how the sculpture group spoke to its original religious context, principally as the funerary monument of Michelangelo’s powerful French patron, Cardinal Lagraulas. The Rome “Pietà” was an important part of the funeral rites for the cardinal that mirrors and amplifies the liturgy surrounding death, particularly the hour of vespers. Reconstructing the sculpture’s relationship to its liturgical and funerary ensemble will highlight Michelangelo’s iconographic and artistic ingenuity in the service of religion and his patron.
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Sifei, Li. "Iranian Religious Elements in Chinese Medieval Art: Remarks on “Zoroastrian Protective Spirits”." Iran and the Caucasus 25, no. 1 (April 22, 2021): 13–28. http://dx.doi.org/10.1163/1573384x-20210104.

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This article aims at discussing the possible origin and meaning of winged fantastic creatures, which appear quite often in the 6th century A.D. Sogdian funerary monuments in China and specifically on the Shi Jun 史君 one (580 A.D.). It cannot be ruled out that composite creatures like the one on the Shi Jun funerary monument originated from the Greek ketos and hippocampus that were introduced into Persia, Central Asia and northwestern India after the conquest of the Persian Empire by Alexander the Great. The impact of Chinese cultural elements on this little investigated group of funerary monuments contributed to create a long forgotten unique and still enigmatic artistic production that scholars called “Sino-Sogdian”.
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Millis, Benjamin W. "An Inscribed Funerary Monument from Corinth." Hesperia 76, no. 2 (August 7, 2007): 359–64. http://dx.doi.org/10.2972/hesp.76.2.359.

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Estrin, Seth. "Cold Comfort: Empathy and Memory in an Archaic Funerary Monument from Akraiphia." Classical Antiquity 35, no. 2 (October 1, 2016): 189–214. http://dx.doi.org/10.1525/ca.2016.35.2.189.

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Focusing on a single funerary monument of the late archaic period, this paper shows how such a monument could be used by a bereaved individual to externalize and communalize the cognitive, perceptual, and emotional effects of loss. Through a close examination of the monument’s sculpted relief and inscribed epigram, I identify a structural framework underlying both that is built around a disjunction between perception and cognition embedded in the self-identified function of the monument as a mnema or memory-object. Through the analysis of other epigrams and literary passages, this disjunctive framework is shown to be derived, in turn, from broader conceptualizations in archaic Greece about how both mental images, including memories, and works of art allowed continued visual, but not cognitive-affective, access to the deceased. From this perspective, the monument’s relief opens up to us the experience of the bereaved individual who is only able to connect with the deceased through a remembered mental image.
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Cifani, Gabriele. "Un nuovo monumento funerario dal suburbio occidentale di Leptis Magna." Libyan Studies 37 (2006): 21–29. http://dx.doi.org/10.1017/s0263718900003988.

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AbstractA funerary monument dating from the second half of the second century ad was discovered in 1997 in the western suburbs of Leptis Magna. The Latin inscription engraved on the monument states that it was dedicated to two brothers, Pompeius Nabor and Pompeius Ba[rea], by their father. The monument is an interesting example of small-scale funerary buildings which imitated the large mausolea of the Tripolitanian interior and which are associated with the middle class citizenry of Leptis.
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Romashko, Vladimir, and Sergeï Skorÿï. "Aristocratic Burial-Mound Bliznets-2 on the West Bank of the Dnieper above the Rapids." Ancient Civilizations from Scythia to Siberia 17, no. 2 (2011): 169–224. http://dx.doi.org/10.1163/157005711x595121.

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Abstract This article is devoted to the Bliznets-2 Burial-mound which is one of the largest Scythian funerary monuments of the 5th century BC and which was excavated on the southern edge of the town of Dnepropetrovsk in 2007. Along with the structural features of the burial-mound, the funerary rite and range of artefacts discovered in it are analysed. The role of the monument among the Scythian élite burial-mounds in the North Pontic region is defined and certain aspects of the dynastic history of the Scythians are discussed.
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Di Valerio, Eugenio. "The Western Necropolis of Cyrene: the Wadi Belghadir road." Libyan Studies 50 (July 2, 2019): 137–46. http://dx.doi.org/10.1017/lis.2019.17.

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AbstractThe Western Necropolis represents one of the most monumental and spectacular sections of the Cyrene cemeteries, with rock-cut monuments, still quite well preserved, along a funerary road. The earliest examples of monumental tombs in this context date to the second half of the sixth and the beginning of the fifth centuries BC, with tombs displaying rock-cut porticos in Doric, Aeolic or Ionic styles, and with the slightly later tombs having architectonic facades characterized by false ‘contracted’ porticos and overhanging lintels ending with twoacroteria, mainly dating to the fifth century. The fourth century and the Hellenistic age, in this section of the necropolis, is attested by rock-cut chamber tombs, often with painted Doric friezes, and loculi. In Roman times, apart from a few examples of new tombs, most of the Roman funerary monuments reuse earlier tombs or are tombs that have been in constant use from previous periods. These phenomena of transformation and reuse of earlier monuments are quite well know for Cyrene, but are more evident from the middle and late imperial period; in later periods we even see the total re-functionalization of the monument. The monumental appearance of the Western Necropolis and its location in a quite remote area, are unfortunately the main reasons for the destruction of the tombs, which have been quite heavily looted: marble statues, busts and portraits have particularly suffered.
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Taylor, Laurel. "“Reading the Ritual”: Representation and Meaning on an Etruscan Funerary Monument in Perugia." Etruscan Studies 23, no. 1-2 (November 4, 2020): 3–28. http://dx.doi.org/10.1515/etst-2019-0009.

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AbstractAn unusual circular funerary monument in the National Archaeological Museum in Perugia (inv. no. 634) depicts a remarkable, multifigured narrative combining generic and unique scenes of Etruscan funerary ritual. Despite its singular character, this Archaic-period monument has never been the focus of an in-depth study. The monument features a frieze with two distinct scenes, each composed around a central focal point. On one side appears a prothesis scene in which a corpse occupies the central space with figures aligned on each side of the funerary bed. On the opposite side, figures are arranged on both sides of an altar featuring a burning fire, a scene without comparison in Etruscan funerary iconography. Though many of the figures have parallels within Etruscan imagery in both gesture and in attribute, much about this monument from its morphology to its pendant scenes is exceptional. Prothesis scenes, which appear almost exclusively in the Chiusi area and only during the Archaic period, are typically combined with images of funerary banqueting, dancing, and/or lamentation scenes. The pairing here with the altar/fire image raises interesting interpretive questions about the constitutive effect of these two events and how these may have been read and comprehended by the ancient viewer. Formally, the scenes invite connection and comparison, perhaps even to convey a symbolic and/or temporal relationship between these two events. The prothesis may have preceded and necessitated some sort of ritual purification by fire. Alternatively, the fire may reference a type of sacrifice part of funerary ritual. Neither, however, was part of the iconographic tradition. In attempting to these scenes, this paper uses a proxemics-based approach (a model used frequently in New World archaeology), to understand how the formal and physical characteristics of the monument reflect aspects of ancient visuality that is, the interplay between viewer, perception, and space. The figuration, composition, and morphology of this monument suggest that these scenes were intended less as narratives to be read and more as evocations of a ritual landscape whose broad contours could be perceived and understood with even a cursory engagement. These scenes are the visual evocation of ritual performance and environments. Though unusual in many aspects, the Perugia monument may have more far-reaching implications for ancient viewership.
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Polinskaya, Irene. "A New Inscribed Funerary Monument from Aigina." Hesperia 71, no. 4 (October 2002): 399. http://dx.doi.org/10.2307/3182043.

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Polinskaya, Irene. "A New Inscribed Funerary Monument from Aigina." Hesperia 71, no. 4 (October 2002): 399–413. http://dx.doi.org/10.2972/hesp.2002.71.4.399.

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Dissertations / Theses on the topic "Funerary monument"

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Senior, Rebecca. "The death of allegory? : problems of the funerary monument, 1762-1840." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18289/.

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This thesis traces the transformative potential of allegory as an adaptable sculptural art form in Britain between 1762 and 1840, and provides a detailed analysis of monuments that demonstrate how allegory was manipulated perform and manage changing attitudes towards capitalism, race, gender and empire. By focusing on a variety of monumental sculptures – funerary monuments, political monuments, and war memorials - in a variety of settings – public cathedrals, private churches and colonised spaces – this thesis demonstrates how allegory operated across a variety of sculptural media in the British empire, and reveals a commonality between sculptors who have been separated by period, geography and counter-productive art historical ‘–isms’. In so doing, it presents allegory as a new lens through which to view an alternative history of monumental sculpture in Britain, which acknowledges underlying motivations of greed, misogyny and xenophobia as central to the formation of what we understand today as the British school.
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Sandover, Cherry E. "The triumph of fame over death : the commemorative funerary monument of the artist in 19th century Britain as signifier of identity." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402822.

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Harris, Amy Louise. "The funerary monuments of Ireland 1560-1660 A.D." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429734.

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EMMERSON, ALLISON L. C. "A RECONSIDERATION OF THE FUNERARY MONUMENTS OF ROMAN DACIA." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187034755.

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Labno, J. J. "The monumental body and the Renaissance child : funeral monuments in Poland and their European context (1500-1650)." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419825.

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Negretto, Francesco <1974&gt. "Monumenti funerari romani ad edicola in Italia settentrionale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/1369/.

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La ricerca ha analizzato i monumenti funerari ad edicola in Italia settentrionale, una categoria funeraria monumentale diffusa ed importante; sono stati presi in considerazione sia quelli in ottimo stato di conservazione sia quelli attestati da poche membrature superstiti, per un totale di circa quaranta esemplari. La schedatura del materiale è servita per comprendere diversi aspetti inerenti alla diffusione di questa importante forma architettonica nel territorio preso in esame: le numerose varianti architettoniche adottate, specificatamente quella a edicola quadrangolare e quella a tholos circolare; la diffusione geografica in senso assoluto e rapportata alle diverse varianti, approfondita anche per alcune caratteristiche decorative singolari; la diffusione cronologica; la committenza che si è rivolta a questo genere di monumenti funerari; l’influenza esercitata e subita rispetto ad altre forme coeve e successive di sepolture.
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Bruss, Jon Steffen. "Hidden Presences : monuments, gravesites, and corpses in Greek funerary epigram /." ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.

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Bruss, Jon Steffen. "Hidden presences : monuments, gravesites and corpses in greek funerary epigram /." Leuven : Peeters, 2005. http://catalogue.bnf.fr/ark:/12148/cb401409526.

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Colombo, Stefano. "The rhetoric of celebration in seventeenth-century Venetian funerary monuments." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/94209/.

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This thesis investigates seventeenth-century Venetian funerary monuments as representing the Republic’s celebrative imagery. Going beyond the traditional interpretation of these monuments as a display of funerary memory, a series of case studies provided in six chapters examines them as rhetorical devices which celebrated Venice and instilled subtle forms of its republican propaganda. Chapter One focuses on early seventeenth-century ducal monuments and the republican ethos, scrutinising their function as ideological instruments which asserted the grandeur of Venice through their celebration of the doges. Chapter Two analyses the architectural and visual sources of the monument to Doge Giovanni Pesaro, a crucial model for later funerary monuments, focusing on the interaction between sculpture, architecture and the viewer. The comparative reading of contemporary panegyric poems of the Pesaro monument demonstrates how it was perceived as a living presence which was capable of eliciting the involvement of the viewer and gaining his or her persuasion. Monuments to the Venetian captains Caterino Cornaro and Antonio Barbaro are investigated in Chapter Three as significant examples which embody the notion of sacrifice as an act of both civic and religious piety. This forms the basis of the fabrication of the Venetian identity of the newly ennobled families and merchants through the memorials on the façades of San Moisè and Santa Maria dei Derelitti which are analysed in Chapter Four. Chapters Five and Six explore Antonio Gaspari’s project proposals for Doge Francesco Morosini and the Valier family, which remained unexecuted. Inspired by Roman Baroque architecture, Gaspari enhanced the aggrandisement of the ducal families to a quasi-imperialist state. Nevertheless, the actual Valier monument devised by Andrea Tirali remained an indirect celebration of Venice through the celebration of the doge’s achievements. The six chapters thus demonstrate how funerary monuments create a public imagery which complements the so-called “myth of Venice”.
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Craske, Matthew Julian. "The London trade in monumental sculpture and the development of imagery of the family in funerary monuments of the period 1720-1760." Thesis, Queen Mary, University of London, 1992. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1894.

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The thesis is concerned with the use of family imagery in monumental sculpture commissioned from the major London workshops in the mid-eighteenth century. It explores the interaction of the many factors which dictated the way in which the family might be represented in monumental sculpture. The interests of the competing London workshops in producing images which established their fame and increased their profits are studied in conjunction with the interests of the patronage in furthering personal and family reputations. The thesis evaluates the contribution that work upon the social history of the eighteenth century family can make to our understanding of the development of monumental imagery. I investigate the many levels of problems associated with using an art form as a source of "data" in the formulation of social history and the potential of the analysis of artistic images to question, or confirm, the validity of theories of family history. The central objective is to enquire into the reasons why the London market in monumental sculpture thrived and expanded in the first half of the eighteenth century. Much of the analysis is directed at revealing the fundamental reasons which caused patrons to order monuments. Changes in furierary culture are measured in terms of the proportion of monuments commissioned to mark, for instance, the elevation of a family to the peerage, or a bereaved husband's grief for his wife. I conclude that the great majority of monumental sculpture commissioned from London workshops throughout the period was concerned with matters of inheritance and property; marking the end of dynasties, the gratitude of those inheriting land, and the establishment of new families upon country estates. The demand for images marking the transfer of property and the passage of titles and honours is shown to have dominated the sculpture market in the first two decades of the period and, despite a strong cultural reaction against formal dynastic sculpture in the 1740s and 50s, continued to have a commanding role in the success of the London workshops.
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Books on the topic "Funerary monument"

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Sarkofag Władysława II Jagiełły i Donatello: Początki odrodzenia w Krakowie : sztuka, polityka, humanizm = Funerary monument of King Władysław II Jagiełło in Krakow Cathedral, a major new attribution to young Donatello. Gdańsk: Słowo/Obraz Terytoria, 2011.

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Portraits of children on Roman funerary monuments. Cambridge: Cambridge University Press, 2012.

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la, Fuente Beatriz de, and Noelle Louise, eds. Arte funerario. México: Universidad Nacional Autónoma de México, 1987.

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J. Paul Getty Museum. Roman funerary monuments in the J. Paul Getty Museum. Edited by True Marion and Koch Guntram. Malibu, Calif: The Museum, 1990.

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Gostar, Nicolae. Marele monument funerar roman de la Adamclisi: Studiu epigrafic. Iași: Casa Editorială Demiurg, 2008.

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Funeral monuments in post-Reformation England. Cambridge, U.K: Cambridge University Press, 2000.

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La escultura funeraria en España. Guadalajara: Ediciones AACHE, 2000.

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Arquitectura funeraria. Puebla, México: Gonbierno del Estado de Puebla, Consejo Estatal para la Cultura y las Artes, 2012.

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Kleiner, Diana E. E. Roman imperial funerary altars with portraits. Roma: Bretschneider, 1987.

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Constructing identity: The Roman funerary monuments of Aquileia, Mainz and Nimes. Oxford: J. and E. Hedges, 2001.

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Book chapters on the topic "Funerary monument"

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Diebner, Sylvia. "Tombs and Funerary Monuments." In A Companion to the Archaeology of the Roman Republic, 67–80. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118557129.ch4.

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Tait, Clodagh. "The Nature and Uses of Funerary Monuments." In Death, Burial and Commemoration in Ireland, 1550–1650, 97–112. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403913951_6.

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Tait, Clodagh. "Funerary Monuments and Society: Family, Honour and Death." In Death, Burial and Commemoration in Ireland, 1550–1650, 113–34. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403913951_7.

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Tulloch, Janet H. "Devotional Visuality in Family Funerary Monuments in the Roman World." In A Companion to Families in the Greek and Roman Worlds, 542–63. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444390766.ch32.

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Stone, David L., and Lea M. Stirling. "1. Funerary Monuments and Mortuary Practices in the Landscapes of North Africa." In Mortuary Landscapes of North Africa, edited by David L. Stone and Lea Stirling, 1–31. Toronto: University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442628144-003.

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McClain, Aleksandra. "Patronage in Transition: Lordship, Churches, and Funerary Monuments in Anglo-Norman England." In Studies in the Early Middle Ages, 185–225. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.sem-eb.5.108509.

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Howell, A. Jonathan, and David S. Young. "Image Retrieval Methods for a Database of Funeral Monuments." In Lecture Notes in Computer Science, 129–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-45479-9_14.

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Shumka, Leslie. "8. Designing Women: The Representation of Women’s Toiletries on Funerary Monuments in Roman Italy." In Roman Dress and the Fabrics of Roman Culture, edited by Alison Keith, 172–91. Toronto: University of Toronto Press, 2008. http://dx.doi.org/10.3138/9781442689039-013.

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Fassina, Vasco, Simone Benchiarin, and Gianmario Molin. "Condition Survey on XIV–XVIII Century Funerary Monuments in the Cloisters of St. Anthony Basilica in Padua." In Engineering Geology for Society and Territory - Volume 8, 547–51. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09408-3_98.

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"Funerary Monument." In Encyclopedic Dictionary of Archaeology, 507. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_60433.

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Conference papers on the topic "Funerary monument"

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Alayón González, José Javier, Mariolly Dávila Cordido, and Odart Graterol Prado. "Reconstrucción de una pirámide borrada. Análisis de la Capilla Mortuoria encargada por Lucie Delgado-Chalbaud en Caracas, Venezuela, 1951." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1081.

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Resumen: Este trabajo analiza, por diversos medios, el proyecto de la capilla mortuoria con dos tumbas para el expresidente militar Carlos Delgado-Chalbaud y su padre. El encargo, no realizado, fue el único que, tras varias tentativas, pudo ejecutarse en Caracas, Venezuela. Le Corbusier archivó este proyecto como un “Monument”, y dentro de su trayectoria solo estuvo precedido por otro de carácter funerario dedicado al Mariscal F. Foch en la Porte Maillot de París y, posteriormente, diseñará su propia tumba en Cap Martin. Esto convierte al proyecto de Caracas, prácticamente desconocido, en un caso singular dentro de las tipologías funeraria y religiosa. La reconstrucción planteada se sustenta en la documentación conservada, el análisis histórico de las fuentes documentales, el empleo de la perspectiva clásica y las herramientas digitales para aportar precisiones y avances sobre estudios previos. En paralelo, la comparación con propuestas formales similares, enmarca el objeto de estudio dentro del legado del arquitecto. La pirámide ejemplifica la relación entre hombre y naturaleza, el “juego jugado por el hombre con los elementos cósmicos”, el papel de la forma, y de las trazas reguladoras en un período en el que su racionalismo purista se abre a interpretaciones más expresivas de la forma. En el fondo de esta investigación subyace el interés por comprender el proceso proyectual de Le Corbusier y su idea de arquitectura en torno a los años 50, al tiempo que se reconstruye un proyecto prácticamente borrado. Abstract: By several methods, this work analyzes the project for the mausoleum with two tombs for the former military president Carlos Delgado Chalbaud and his father. The unrealized commission was the only work that could have built in Caracas, Venezuela. Le Corbusier archive this project categorized as a “Monument” and in his career, it was only preceded by another funerary project dedicated to Mariscal F. Foch located in Porte Maillot in Paris, France. Only there was another funeral project: his own grave at Cap Martin. This makes this virtually unknown project in Caracas, a singular case framed within the funeral and religious categories. The proposed reconstruction is based on the preserved documentation, historical analysis of various documentary sources, the use of classical perspective and digital tools to provide clarifications and progress on previous studies. Parallel, comparisons with similar previous and subsequent formal proposals frames the object of study in its entire legacy. The pyramid illustrates the relationship between man and nature “the game played by the man with the cosmic elements”, in a period in which his purist rationalism opens to a more expressive performances in form. In the background of this research lays an interest in understanding the design process of Le Corbusier and his idea of architecture around the 50’s, while a virtually erased project is restored. Palabras clave: Le Corbusier; capilla; Caracas; análisis; reconstrucción; pirámide. Keywords: Le Corbusier; mausoleum; Caracas; analysis; reconstruction; pyramid. DOI: http://dx.doi.org/10.4995/LC2015.2015.1081
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Saalfeld, Patrick, Claudia Bottcher, Fabian Klink, and Bernhard Preim. "VR System for the Restoration of Broken Cultural Artifacts on the Example of a Funerary Monument." In 2021 IEEE Virtual Reality and 3D User Interfaces (VR). IEEE, 2021. http://dx.doi.org/10.1109/vr50410.2021.00101.

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Cambi, Nenad. "Funerary Monuments and Quarry Management in Middle Dalmatia." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/08.02.

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Akulov, Alexey. "«Time of cats». Amazing century of Tagarskaya noble monuments." In ANCIENT NECROPOLISES — FUNERAL AND MEMORIAL RITUALISM, ARCHITECTURE AND PLANNING OF NECROPOLISES. Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-93572-816-8-149-163.

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Бравина, Розалия Иннокентьевна, and Никита Деевич Архипов. "FUNERAL MONUMENTS OF POPULATION OF THE POOL OF THE OLENEK RIVER YAKUTIA (XVII - XIX CENTURIES)." In Всероссийская научно-практической конференция с международным участием, посвященной 100-летию со дня рождения выдающегося ученого-североведа И.С. Гурвича (1919-1992). Электронное издательство Национальной библиотеки РС (Я), 2019. http://dx.doi.org/10.25693/gurvich.2019bravinari.

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Charauko, Viktar. "Informativeness of non-inventory burials (on the example of funerary monuments of the Belorussian Dvina Region of the 14th–18th centuries)." In Actual Archaeology 5. Institute for the History of Material Culture Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-04-0-2020-374-376.

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Onufrienko, Julia. "Funeral monuments of the late Middle Ages and early New time on the territory of the cities of Kirov and Slobodsky: cartographic and topographical aspects." In Actual Archaeology 5. Institute for the History of Material Culture Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-04-0-2020-370-373.

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Korichi, Amina, Zineeddine Guenadez, and Nicolas Faucherre. "La réutilisation du patrimoine défensif urbain en Algérie." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11367.

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Abstract:
Reuse of urban defensive heritage in AlgeriaThe growing interest in the heritage that contemporary society carries with it, and which is reflected in the extent of the debates and issues relating to its preservation and enhancement, runs up, most of the time, to the authentic memory / memory dichotomy. Dynamic. That being said, the reuse of built heritage in the process of renewing the image of our cities (use-value) becomes dependent on a global conception included in a sustainable urban development approach. The monumental heritage, subdivided, generally, into five categories namely; religious, hospitable and funeral, civil (public or private), agricultural and industrial and finally military, raises enormous problems as for its reuse. These are more pronounced towards the military-defensive architecture that is the subject of this contribution. In Algeria, defensive architecture occupies an important part in its heritage site. The typological diversity –the result of a long stratification from the early antiquity to the middle of the last century– as well as the dominant position occupied by this defensive heritage abandoned in the current urban landscape imposes a more urgent care. Therefore, we want, through this communication, to lay the first steps of a patrimonial approach to highlight this or these unknown military architectures and preserve our defensive heritage for which the collective memory is not attested and still painful. The reuse of the defensive heritage in Algeria must first and foremost go through its identification, inventory its various typologies, evaluate its current physical impact and finally explore the different urban alternatives that will result from its reintegration into the urban experience and for sustainable cities and citizens.
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