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Books on the topic 'Zarma language'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Djibo, Moussa. Parlons zarma =: Let's speak Zarma = mu zanta zabarma = iri ma salan zarma ciine. Niamey, Niger: Editions Alpha, 2002.

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2

Umaru, Isufi Alzuma. Zarma ciine kaamuusu kayna. [Niamey?]: Agence de la francophonie, ACCT, 1998.

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3

Niger. Direction de la population., ed. Lexique démographique français-zarma. [Niamey]: La Direction, 1992.

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4

Niger, SIL. [SIL Niger publications in Zarma dialect]. Niamey, Niger: SIL Niger, 2003.

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5

(Organization), Partenariat Niger. [Partenariat Niger publications in Zarma dialect. Niamey, Niger: Partenariat Niger, 2002.

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6

(Organization), Partenariat Niger. [Partenariat Niger publications in Zarma dialect. Niamey, Niger: Partenariat Niger, 2002.

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7

(Organization), Partenariat Niger. [Partenariat Niger publications in Zarma dialect]. Niamey, Niger: Partenariat Niger, 2005.

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8

Diodi, M. O. Cours de zarma: Pour débutants. [Niger]: M.O. Diodi, 1995.

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9

Yves, Bernard. Document de recherche pour un dictionnaire français/zarma/son̳ey/dendi. Niamey, Niger: Yves Bernard, 2005.

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10

Mounkaïla, Fatimata. Le mythe et l'histoire dans la geste de Zabarkâne. Niamey: CELHTO, 1989.

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11

Adamou, Amadou Saïbou. Identités et parole poétique chez les Songhay-Zarma. Niger]: Études nigériennes, 2014.

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12

2000, Démocratie, ed. Lexique hausa & zarma: Démocratie et développement à la base : terminologie essentielle. Niamey, Niger: Democratie 2000, 2000.

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13

Gassama, Makhily. La langue d'Ahmadou Kourouma: Ou, le français sous le soleil d'Afrique. Paris: ACCT, 1995.

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14

Nabature, Bilkisu Ibrahim. Mugun zama. Kano: Anti Bilki Bookshop, 1999.

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15

Gezawa, Nuraddeen Ado. Ba zama! [Nigeria?: s.n.], 2003.

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16

Adam, Hadiza Balanti. Jin dadin ma'aurata: Ci gaban zama da miji. Kano: D. Bisa, 2003.

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17

Bendemann, Helen. Zama: A beginner's course in Zulu. [Warner Beach, South Africa?]: H. Bendemann, 1994.

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18

author, Bailey Denise, ed. The Gorani language of Zarda, a village of west Iran: Texts, grammar, and lexicon. Wiesbaden: Dr. Ludwig Reichert Verlag, 2013.

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19

Français-zarma. Toulouse (France): Institut des langues et cultures africaines, 2005.

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20

Kasahorow. Modern Zarma: A Concise Introduction to the Zarma Language. Independently Published, 2020.

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21

Laasaabu. [S.l: s.n.], 1993.

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22

Zarma ciine cinari gagari sintina. Niamey: The University, 1987.

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23

Parlons zarma: [une langue du Niger]. Paris: L'Harmattan, 2006.

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24

Mil: Merveille du Sahel. Paris: L'Harmattan, 2007.

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25

Ny angano: Fanabeazana fototra sy zara traikefa. Antananarivo]: Trano Printy Fiangonana Loterana Malagasy, 2009.

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26

Deutsch aus ferner Nähe: Japanische Einblicke in eine fremde Sprache : Festschrift für Susumu Zaima zum 60. Geburtstag. Tübingen: Stauffenburg, 2005.

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27

Bollig, Ben. Moving Verses. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859784.001.0001.

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From Wild Tales to Zama, Argentine cinema has produced some of the most visually striking and critically lauded films of the 2000s. Argentina also boasts some of the most exciting contemporary poetry in the Spanish language. What happens when its film and poetry meet on screen? Moving Verses studies the relationship between poetry and cinema in Argentina. Although both the “poetics of cinema” and literary adaptation have become established areas of film scholarship in recent years, the diverse modes of exchange between poetry and cinema have received little critical attention. This book analyses how film and poetry transform each another, and how these two expressive media behave when placed into dialogue. Going beyond theories of adaptation, and engaging critically with concepts around intermediality and interdisciplinarity, Moving Verses offers tools and methods for studying both experimental and mainstream film from Latin America and beyond. The corpus includes some of Argentina’s most exciting and radical contemporary directors (Raúl Perrone, Gustavo Fontán) as well as established modern masters (María Luisa Bemberg, Eliseo Subiela), and seldom studied experimental projects (Narcisa Hirsch, Claudio Caldini). The critical approach draws on recent works on intermediality and “impure” cinema to sketch and assess the many and varied ways in which directors “read” poetry on screen.

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