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Books on the topic 'Voudon'

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Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

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1

Bertiaux, Michael. Voudon gnostic workbook. New York, N.Y: Magickal Childe, 1988.

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2

Desquiron, Lilas. Racines du voudou. [Port-au-Prince, Haïti]: Editions H. Deschamps, 1990.

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3

Rigaud, Milo. La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie. Haiti: Editions Fardin, 2003.

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4

Vaval, Duraciné, 1879-1952, writer of introduction, ed. Les daïmons du culte voudo. [Port-au-Prince]: Les éditions Fardin, 2014.

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5

Daousanēs, Athan V. Vouvoi tropikoi: Poiēmata. Athēna: Ekdoseis Glaros, 1986.

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6

Madeg, Mikael. Ar vougou: Romant. Brest [France]: Brud Nevez, 1992.

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7

Cathia, Roth, ed. Theezakjes vouwen: Basisboek. Baarn: La Rivière creatieve uitgevers, 2000.

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8

Vingt-Trois, André. Quelle société voulons-nous? Paris: Pocket, 2012.

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9

Fawkes, Sara. Tout ce qu'il voudra. Paris: Marabout, 2012.

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10

Thiollière, Michel. Quelle ville voulons-nous. Paris: Autrement, 2007.

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11

Beaubrun, Mimerose P. Nan dòmi, le récit d'une initiation vodou. La Roque d'Anthéron: Vents d'ailleurs, 2010.

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12

Coelho, Paulo. To pempto vouno. Athens: Libane, 1998.

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13

Salesse, Yves. L' Europe que nous voulons. Paris: Fayard, 1999.

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14

Tapakēs, Alexandros. Stēn ankalia tou vounou: Mythistorēma. Leukōsia: [s.n.], 1991.

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15

Theotokēs, Kōnstantinos. Hē zōē sto vouno. Athēna: Ekdoseis Kastaniōtē, 1999.

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16

Theotokēs, Kōnstantinos. Ē zōē sto vouno. Athēna: Kastaniōtēs, 1999.

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17

To vouno tōn koritsiōn. Metamorphōsē Attikēs: Ekdoseis Papadopoulos, 2022.

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18

To smaragdenio vouno: Mythistorēma. Athēna: Patakēs, 2022.

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19

Kolliakou, Dēmētra. Hē arrōstia tōn vounōn: Tesseris nouveles. Athēna: Ekdoseis Patakē, 2009.

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20

Kolliakou, Dēmētra. Ē arrōstia tōn vounōn: Tesseris nouveles. Athēna: Ekdoseis Patakē, 2009.

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21

Kolliakou, Dēmētra. Ē arrōstia tōn vounōn: Tesseris nouveles. Athēna: Ekdoseis Patakē, 2009.

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22

Zētridēs, Grēgorēs Ch. Apo to vouno tōn theōn. Athēna: I. Karakōtsoglou, Promētheutikē, 1987.

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23

Gauche génération 2012: Ce que nous voulons. Paris: Armand Colin, 2010.

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24

Makrakēs, Stauros N. Histories tou vounou: Maēs-Ochtōvrēs tou 1944. Athēna: Hermēs, 1995.

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25

Tawhid, Magazine De. QUI SOMMES-NOUS ET QUE VOULONS-NOUS ? ISTANBUL, TURKEY: TEVHİD BASIM YAYIN, 2018.

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26

Dominique, Méda, Légeron Patrick 1948-, Schwartz Yves, Muzo 1960-, and Radio-France, eds. Quel travail voulons-nous?: La grande enquête. Paris: Les Arènes, 2012.

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27

Quelle démocratie voulons-nous: Pièces pour un débat. Paris: Découverte, 2006.

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28

Letourneux, François. Oui ou non, voulons-nous protéger la nature? Toulouse: Milan, 2009.

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29

Cuche, Fernand. Nous voulons une autre Suisse: [questions d'Alain Maillard]. Vevey: Editions de L'aire, 2002.

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30

Letourneux, François. Oui ou non, voulons-nous protéger la nature? Toulouse: Milan, 2009.

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31

Letourneux, François. Oui ou non, voulons-nous protéger la nature? Toulouse: Milan, 2009.

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32

Léger, Jack-Alain. Maestranza: Ni essai ni roman, ce qu'on voudra. [Paris]: Gallimard, 2000.

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33

Amvrosios-Aristotelēs, Zōgraphos. Homoiotētes stēn eikonographia Christou kai Vouda. Athēna: Maïstros, 2009.

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34

editor, Kouchner Emmanuelle, Amao Damarice editor, Alvarez Athina contributor, Barsac Jacques contributor, Bonhomme Max contributor, Coccia Emmanuele contributor, Gokalp Sébastien contributor, and Rencontres internationales de la photographie (52th 2021 : Arles, France), eds. Charlotte Perriand: Politique du photomontage : comment voulons-nous vivre? Arles: Actes sud, 2021.

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35

Association européenne contre les violences faites aux femmes au travail., ed. Cette violence dont nous ne voulons plus: Violences conjugales. Paris: AVFT, 1990.

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36

Phakatselēs, Kōstas Z. To genos Voudrē sta ichnē tou chronou: Xērovalto Pōgōniou Iōanninōn. Athēna: Dōdōnē, 2009.

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37

Spyros, Kokkinēs, ed. Ta agria kai ta hēmera tou vounou kai tou longou. 5th ed. Athēna: Vivliopōleion tēs "Hestias" I.D. Kollarou, 1997.

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38

Etéki-Otabela, Marie-Louise. Pour une Assemblée des Peuples Camerounais: Le Cameroun que nous voulons. Paris: L'Harmattan, 2009.

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39

Maurice, Berger. Voulons-nous des enfants barbares?: Prévenir et traiter la violence extrême. Paris: Dunod, 2008.

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40

Guillebaud, Jean-Claude. Voulons-nous d'un monde désincarné?: Promesses et menaces de la cyberculture. Montréal]: Group Fides, 2013.

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41

Etéki-Otabela, Marie-Louise. Pour une Assemblée des Peuples Camerounais: Le Cameroun que nous voulons. Paris: L'Harmattan, 2009.

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42

Kosvyras, Michaēl. Apo to vouno ston amvōna: Ho metaschēmatismos mias oreinēs koinotētas. Athēna: Taxideutēs, 2009.

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43

Voudon Gnosis. Fulgur Esoterica, 2010.

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44

Bertiaux, Michael. Voudon Gnostic Workbook. Magickal Childe, 1989.

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45

Bertiaux, Michael. The Voudon Gnostic Workbook: Expanded Edition. Weiser Books, 2007.

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46

Vameri, Frater. Voudon Gnosticism: An Introduction to the Rites and Practices. Inner Traditions International, Limited, 2024.

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47

Saylor, Eric. Race, “Realism,” and Fate in Frederick Delius’s Koanga. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0005.

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This chapter examines how race intersects with questions of “realism” and fate in Frederick Delius's Koanga, which features black characters as its protagonists as well as examples of African American folk music. Based on an episode from George Washington Cable's novel The Grandissimes, Koanga is a nineteenth-century story of love, jealousy, and betrayal centered on Koanga, an enslaved West African prince and voudon priest, and Palmyra, a quadroon maidservant. This chapter first provides a background on Koanga's genesis and textual variations before discussing its seeming contradiction: the dramatic portrayal of Koanga and Palmyra as a reflection of period beliefs about the Otherness of blacks; and its treatment of the exoticism of “blackness,” both physical and musical, as an attractive quality integral to achieving its dramatic and musical aims. It argues that Koanga revives many familiar tropes of racial exoticism and manifests troubling new resonances concerning questions of destiny and free will.
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48

Murchison, Gayle. New Paradigms in William Grant Still’s Blue Steel. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0008.

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This chapter examines the aesthetics underlying William Grant Still's Blue Steel and contextualizes it as a Harlem Renaissance work engaged with the African past and Still's diasporic present. Composed in 1934, Blue Steel was envisioned by Still as an African American opera—one that not only treated an African American subject, but was also rooted in African American and African diasporic culture—namely, its syncretic religion, voodoo or voudon. The chapter first takes a look at Still's first exposure to and early attempts at opera before discussing his collaborators in the creation of Blue Steel. It then provides a summary of Blue Steel's plot and characters as well as its use of African music for conceptual approaches to representing Africa and Africanness through musical signifiers. It also examines how voodoo became a means for Still to express himself as a Harlem Renaissance artist by functioning as a multifaceted signifier of African identity within the New World.
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49

Bryan, Karen M. Clarence Cameron White’s Ouanga! in the World of the Harlem Renaissance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0007.

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This chapter examines Clarence Cameron White's Ouanga! in the context of the Harlem Renaissance. Produced by White in collaboration with John Frederick Matheus, Ouanga! is an important example of African American opera in the late 1920s and early 1930s. It draws upon Haiti's role as the first independent black-ruled state in the Western Hemisphere, as well as the prominence of its African heritage and the voudon religion. This chapter first provides a brief synopsis of the impact and legacy of the Haitian revolution on American society in the 1920s before discussing the genesis of Ouanga!, along with its use of physical representation and description to heighten the contrast between the concepts of old and new. It also considers social and religious structures represented in Ouanga! as well as its musical representation of Haitian culture. It argues that Ouanga! illuminates the history, heritage, and complexity of Haitian culture by combining two conceptions of Haiti: a highly romanticized view of Haiti's revolutionary history with an African American response to twentieth-century society and culture.
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50

Anoubi voudou. Rimini: Cartoon club, 2012.

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