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Relevant bibliographies by topics / Tunisian Art

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Journal articles

Academic literature on the topic 'Tunisian Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Tunisian Art"

1

Ben Khedher, Hassib, Mohamed Braham, and Ikbal Chaieb. "The State of the Art of the Tunisian Apidae Fauna (Hymenoptera: Anthophila)." Sociobiology 69, no. 3 (2022): e8151. http://dx.doi.org/10.13102/sociobiology.v69i3.8151.

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Based on a review of the available literature, the state of the art and a checklist of the fauna of the Apidae family of Tunisia is presented. The first list of the species of the family is given. 184 species and subspecies belonging to 19 genera, 12 tribes and three subfamilies were listed. Distribution of recorded taxa from Tunisia and from the world is provided. Apinae is the subfamily with the highest species richness with 89 species. Nomada has the highest number of species represented by 62 taxa. The Tunisian East center is the least species-diversified regions with only 16 species and s

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2

Shilton, Siobhán. "Digital Art and the Tunisian Revolution." Wasafiri 31, no. 4 (2016): 69–75. http://dx.doi.org/10.1080/02690055.2016.1218114.

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3

LA ROSA, CRISTINA. "WRITING A MARWIYYA IN CONTEMPORARY TUNISIA: TAOUFIK BEN BRIK’S KAWASAKI." Romano-Arabica 22, no. 1/2024 (2024): 56–65. http://dx.doi.org/10.62229/roar_xxii/4.

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Kawasaki is a novel published in 2014 by Tunisian writer Taoufik Ben Brik, already renowned for his book entitled Kalb ben Kalb. Although Kawasaki addresses issues relevant to literature of resistance, Ben Brik prefers to define it a marwiyya, almost as if to create a new genre. The novel is set in a dry, barren Tunisia, where everything is arid and stony, a metaphor of the state of mind of the men and women who feel trapped in contemporary Tunisian society. The novel bears the name of the protagonist’s motorcycle on which he undertakes a physical journey towards Tataouine, but also a complex

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4

Saddoud Debbabi, Olfa, Sameh Rahmani Mnasri, Fathi Ben Amar, M’barek Ben Naceur, Cinzia Montemurro, and Monica Marilena Miazzi. "Applications of Microsatellite Markers for the Characterization of Olive Genetic Resources of Tunisia." Genes 12, no. 2 (2021): 286. http://dx.doi.org/10.3390/genes12020286.

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Among the countries of the Mediterranean Basin, Tunisia is located at the crossroad for the immigration of several civilizations over the last two millennia, becoming a strategic place for gene flow, and a secondary center of diversity for olive species. Olive is one of the principal crop species in Tunisia and now it strongly characterizes the rural landscape of the country. In recent years, collecting missions on farm and in situ were carried out by various institutes, with special emphasis given to ex situ collections serving as a reference for the identification of olive germplasm. Simple

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5

Holton, Jared. "Globalism and Mediterranean Modal Musics: The Case of the Tunisian Ṭubū’". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (7 грудня 2022): 61–68. http://dx.doi.org/10.30819/aemr.10-8.

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Modal musics in the Mediterranean have a resilient past and an enduring present for many people. If “the global” is defined as a set of contingent relations across multiple places, then the scalar structure, microtonal variation, and taxonomies of these modes constitute a global coherency for the region. But the performance practices of these modes are unique and challenge that coherency. How do musicians hedge interconnectedness by these practices? What does such nuanced musical interaction say about the makings of a “global history”? The Tunisian modes, called the ṭubū‘, provide a relevant c

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6

Bejia, Ismail, Kamel Ben Salem, Mongi Touzi, and Naceur Bergaoui. "The clinical rheumatoid arthritis articular damage score in Tunisian patients." Arthritis & Rheumatism 53, no. 4 (2005): 625–26. http://dx.doi.org/10.1002/art.21320.

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7

Davis, Ruth. "The art/popular music paradigm and the Tunisian Ma'lūf." Popular Music 15, no. 3 (1996): 313–23. http://dx.doi.org/10.1017/s0261143000008308.

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This article was triggered by a conversation with Jan Fairley, some years back, when she first put to me her idea for a special Middle East issue of Popular Music. My natural enthusiasm was tempered with some quite fundamental reservations. Was there such a phenomenon as ‘popular music’, in any generally accepted sense of the word, in Middle Eastern society? And if so, how were we to identify its repertoires, musicians and contexts? Could a useful distinction be made between ‘popular’ and ‘non-popular’ (or specifically, ‘art’ music) genres? And who, among my Middle Eastern music colleagues, wo

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8

Barnard, Debbie. "How art assuages history: nostalgia in Judeo-Tunisian literature." Journal of North African Studies 21, no. 2 (2016): 199–212. http://dx.doi.org/10.1080/13629387.2016.1130932.

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9

Marini, Giorgio. "“Moses c’est le maître à nous tous”:." Manazir Journal 2 (April 1, 2021): 66–81. http://dx.doi.org/10.36950/manazir.2020.2.5.

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The paper focuses on the artistic work of Moses Levy (Tunis, 1885 - Viareggio, 1968), painter and printmaker active in Italy, Tunisia and Paris. A peculiar figure of cosmopolitan painter, whose father was British and the mother Italian, and whose art eludes attempts at univocal classification. On the contrary, it remains emblematic of the fruitfulness made possible by the encounter between different artistic traditions, as well as the reciprocal enrichment offered by the plurality of cultures. Deeply linked by birth to the Jewish community in Tunis, he moved to Italy at a very young age,

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10

Ketiti, Awatef. "Street art as a transforming agent of public space in Arab World. Case study of two artistic groups in Tunisia." Arte, Individuo y Sociedad Avance en línea (February 10, 2023): 1–18. http://dx.doi.org/10.5209/aris.81524.

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The public space in the Arab World has historically been controlled and seized by political authorities. This appropriation has created a deep rift between citizens and public places. Nevertheless, since the beginning of the Arab revolutions, new youth art forms have emerged liberating the arts from traditional formalism and these have been transferred to open spaces making them accessible to the people. This research seeks to explore the youth street art that emerged during the Tunisian revolution, not only as an innovative artistic trend, but also as a social movement that claims a new kind

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