Yépez, J. (2022). Vivir adentro y en contra. Metaleros de las ciudades de Lima (2016) y Huánuco (2010) Perú. PLURIVERSIDAD, 10(n/a), 73–100.
Abstract: RESUMEN
El siguiente trabajo de investigación tuvo como objetivo el análisis de dos trabajos de campo de mi autoría en dos momentos diferentes 2016 (Lima) y 2010 (Huánuco). “En ambos trabajos se hizo uso de la encuesta y la entrevista a profundidad a una muestra no probabilística de 23 personas en el caso de Lima y 30 personas en el caso de Huánuco” (Yépez, J.2011; Yépez, J. 2017b). En el análisis comparativo de ambas investigaciones podemos concluir que la reproducción de la colonialidad del poder y el nudo arguediano (identidad-modernidad-democracia) son las trabas para el desarrollo de las comunidades juveniles en el Perú.
[The following research work had as objective the analyze two field works of my authorship at two different times: 2016 (Lima) and 2010 (Huánuco). “In both works, the survey and the in-depth interview were used with a non-probabilistic sample of 23 people in the case of Lima and 30 people in the case of Huánuco” (Yépez, J. 2011; Yépez, J. 2017b) In the comparative analysis of both investigations we can conclude that the reproduction of the coloniality of power and the argued knot (identity-modernity-democracy) are the obstacles for the development of youth communities in Peru.]
|
|
Coulombe, A. P. (2018). Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture. Master's thesis, University of Arizona, Ann Arbor.
Abstract: This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians.
|
|
Kahn-Harris, K. (2006). “Roots”? the relationship between the global and the local within the Extreme Metal scene. In A. Bennett, B. Shank, & J. Toynbee (Eds.), The popular music studies reader (pp. 128–134). Milton Park: Routledge.
|
|
Chu, M. T. (2012). L’ontologie de l’identité métalleuse face ? la mondialisation: généalogie imaginaire, réseau solidaire. Ph.D. thesis, École doctorale de l’École des hautes études en sciences sociales, Paris.
|
|
Domínguez Prieto, O. (2017). Transhumancias musicales y globalización el metal no tiene fronteras. México: Plaza y Valdés Editores.
|
|