| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
DiGioia, Amanda; Helfrich, Lyndsay |
‘I’m sorry, but it’s true, you’re bringin’ on the heartache’: The antiquated methodology of Deena Weinstein |
2018 |
Metal Music Studies |
4 |
365-374 |
|
|
|
DiGioia, Amanda; Naylor Davis, Charlotte |
Cursed is the Fruit of thy Womb: Inversion/Subversion and the Inscribing of Morality on Women’s Bodies in Heavy Metal |
2018 |
Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization |
|
27-42 |
|
|
|
Elflein, Dietmar |
”Never say die!” Ozzy Osbourne as a male role model |
2016 |
Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches |
|
71-83 |
|
|
|
Elflein, Dietmar |
What is this that stands before me? Männerbilder im Heavy Metal |
2012 |
Thema Nr. 1. Sex und populäre Musik |
37 |
79-96 |
|
|
|
Erbe, Marcus |
”This isn’t over ‘til I say it’s over!” Narratives of Male Frustration in Deathcore and Beyond |
2016 |
Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches |
|
182-192 |
|
|
|
Fast, Susan |
Rethinking issues of gender and sexuality in Led Zeppelin: A woman’s view of pleasure and power in hard rock |
1999 |
American Music; Champaign |
17 |
245-299 |
|
|
|
Fellezs, Kevin |
Talk Shit, Get Shot: Body Count, Black Masculinity, And Metal Music Culture |
2015 |
Modern Heavy Metal: Markets, Practices and Cultures |
|
283-290 |
|
|
|
Flansburg, Glenn |
Performing Gender – Hell Hath No Fury Like a Woman Horned |
2020 |
|
|
|
|
|
|
Fridh, Sanna |
Lord Satan’s Secret Rites and Satanism as Self-Therapy: The Creation of a Masculinity Gender Identity within Black Metal |
2011 |
Can I play with madness? Metal, dissonance, madness and alienation |
|
177-184 |
|
|
|
Friesen, Bruce K.; Helfrich, Warren |
Social Justice and Sexism for Adolescents: A Content Analysis of Lyrical hemes and Gender Presentations in Canadian Heavy Metal Music, 1985-1991 |
1998 |
Youth culture: identity in a postmodern world |
|
263-285 |
|
