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Author |
Faria, Fabio Coura de |
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Title |
Roots and Routes: The Cultural Politics and Translocality of Hip Hop and Heavy Metal |
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Year |
2022 |
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Hip Hop; Politics; Locality; Identity; Latin America; Colonisation; Hybridity |
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Doctoral thesis |
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Universidade Federal de Santa Catarina |
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Florianópolis |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2347 |
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Author |
Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo (eds) |
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Title |
Música Extrema. Ruídos, imagens e sentidos |
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Year |
2021 |
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Keywords |
Extreme Metal; Feminism; Ecology; Fanzines; Identity; Distribution; Theory |
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Pimenta Cultural |
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São Paulo |
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Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2355 |
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Author |
Belén Calvo, Manuela |
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Title |
La construcción de la identidad metálica auténcia en la escena argentina |
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Book Chapter |
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Year |
2022 |
Publication |
Música Extrema: ruídos, imagens e sentidos |
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Pages |
245-266 |
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Keywords |
Argentinian scene; Argentina; Identity; Authenticity |
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Pimenta Cultural |
Place of Publication |
São Paulo |
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Bahy, Cristiane; dos Passos, Cristiano; Khalia, Lucas Martins Gama; Barchi, Rodrigo |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2365 |
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Author |
Lucas, Olivia R. |
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Title |
“Kaitiakitanga, Whai Wāhi” and Alien Weaponry: indigenous frameworks for understanding language, identity and international success in the case of a Māori metal band |
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Journal Article |
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Year |
2021 |
Publication |
Popular Music |
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Volume |
40 |
Issue |
2 |
Pages |
263-280 |
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Keywords |
Alien Weaponry (band); Maori metal; Language; Identity; Nationhood |
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0261-1430 |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2386 |
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Author |
Kruk, Jessica; Robertson, Wesley C. |
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Title |
An annotated interview with Beastwars: Language, identity and place in New Zealand metal |
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Journal Article |
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Year |
2023 |
Publication |
Perfect Beat |
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22 |
Issue |
1 |
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s. p. |
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Keywords |
Interview; Beastwars (band); Sociolinguistics; Language; Identity; New Zealand |
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1038-2909 |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2456 |
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Author |
Tapia, Reynaldo |
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Title |
El Metal Underground como Cultura, Identidad y Resistencia |
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Book Chapter |
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Year |
2022 |
Publication |
El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
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9-30 |
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Identity; Resistance; Bolivia; Sociology |
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Ediciones Jichha |
Place of Publication |
La Paz |
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Tapia, Reynaldo; Mendoza, Boris |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2479 |
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Author |
Mendoza, Boris |
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Title |
El underground Boliviano de los Andes y su resonancia identitaria en la política pública de del siglo XXI |
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Book Chapter |
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Year |
2022 |
Publication |
El Tejido de las cuerdas disonantes del metal en Bolivia: Análisis descriptivo e histórico del under boliviano |
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33-56 |
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Bolivia; Identity; Politics |
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Ediciones Jichha |
Place of Publication |
La Paz |
Editor |
Tapia, Reynaldo; Mendoza, Boris |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2483 |
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Author |
Kloeppel, Mark |
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Title |
Unveiling Extreme Metal Festival Producers: The Emergence of Narrative Identities |
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Book Whole |
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136 |
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Keywords |
Communication and the arts; Social sciences; Extreme metal; Festivals; Narrative identity; Narrative inquiry; Tourism; Cultural resources management; Sociology; Labor relations |
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Abstract |
“Extreme Metal is a form of dark tourism and leisure activity whose artistic radicalism and underground scenes invoke intense debates from musicians as well as audiences. Traditional cultural studies have assumed that its disenfranchised and transgressive music expressions are an ideological resistance to increasing homogeneities of industrialized society. As such, considering the nature of festivals as a mechanism where culture is created and transmitted, the operations and promotions of Extreme Metal festivals are inevitably engaged in the wider cultural politics of Extreme Metal. The roles of festival producers thus must be emphasized, who act as powerful agents in engaging artists, developing audiences, arranging programs, and so forth. Indeed, no festivals can be simply described as improvised events – they are carefully programmed, planned, and constructed for audiences to hear and see. With this in mind, this study serves to explore the experiential predicament of these culturally embedded event producers.
In particular, the identities of the festival producers compose the focus of investigation for this research. That is, considering the contested contexts that are at play in shaping the very existence of Extreme Metal, the producers are constantly acting as intermediaries between these contexts. The discursive practice by which they give meaning to their festival production practices, contain profound dissonance between 'what they imagine their selves to be' and 'what they actually are’ as related to their turbulent ‘referential world’ of Extreme Metal festival production.
With this in mind, this study employs the theoretical framework of narrative identity in the examination of the ‘referential world’ by which identities are related. Narrative identity is considered as an approach to understand how people resolve themselves, life events, actions, and other forces in their life. Considering that a self, in narrative, is given meaning through the narrator’s relation of the self to their referential world, analyzing the narrative moments where conflicting contexts are at play provides a sensitization to the struggle of Extreme Metal cultural transgression within festival production. Specifically, it is learned how this tourism is considered ‘dark’. In doing so, three main research questions are asked: 1). How can we understand the festival producers’ identities as negotiated and emerged from the interview narratives? 2). In regards to the festival producers’ identities, what socio-cultural forces in relation to the apparatus of Extreme Metal are involved? 3). How do such findings illuminate the makings of tourism festivals at large?”
(Source: ProQuest Dissertations Publishing) |
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Master's thesis |
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University of Missouri-Columbia, Parks, Recreation, and Tourism Department |
Place of Publication |
Columbia, Missouri |
Editor |
Grace Yan |
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English |
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ProQuest publication number 11015334 |
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no |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2518 |
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Author |
Kotila, Sanna |
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Title |
Frost, Blood and a Thousand Lakes: Representing Finnishness in Metal Lyrics |
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Year |
2012 |
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black metal, discourse, Finland, representation, articulation, national identity, the narrative of the nation, metal lyrics |
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Abstract |
<< Tutkielmassani selvitän, millaisena suomalaisuus artikuloituu viime vuosien kansainväliselle yleisölle suunnatussa, englanninkielisessä metallilyriikassa. Tutkielmani pohjaa teoreettisesti ajatukselle, että kansallista kulttuuria ja identiteettiä rakennetaan ja tuotetaan diskursiivisesti. Benedict Anderson luonnehtii valtiota kielen avulla kuviteltuna ja määriteltynä yhteisönä. Kansallinen diskurssi tuottaa yhteisöllisyyttä, se määrittelee ”meidät” erityislaatuisina. Kansallisvaltio on käsitteenä historiallisesti suhteellisen uusi, ja jokainen kansakunta on kulttuurisesti hybridi. Silti diskurssin avulla kansakunnasta luodaan representaatio, joka esittää sen olleen olemassa jo määrittelemättömän kauan, ja joka esittää sen olevan kulttuurisesti homogeeninen.
Stuart Hallin teorioima ”kansallinen narratiivi” on metafora, joka asettaa kaikki tiettyä kansallisuutta kuvaavat esitykset yhteyteen. Niistä syntyy kansallinen kertomus, jossa painottuvat usein toistetut kansallisuutta kuvaavat elementit, viitteet ja symboliikka. Mitä enemmän jotain kuvausta toistetaan, sitä itsestään selvempänä se alkaa näyttäytyä, ja sitä vaikeampi se on haastaa, vaikka se ei vastaisikaan totuutta. Tässä piilee diskursiivisuuden voima. Kansalliseen keskusteluun osallistuvat saattavat toistaa vallalla olevia käsityksiä jopa tiedostamattaan.
Tutkimusaineistossani suomalaisuuden elementit; symbolit ja erilaiset viittaukset artikuloituvat metallilyriikan aineksiksi. Kontekstualisointi on keskeisin tekniikkani analysoidessani lyriikoita, tästä syystä myös Deena Weinsteinin teoria metallidiskurssista on oleellinen osa teoriapohjaani. Jotkin viittaukset paljastavat monitahoisen merkityksensä vain, kun ne luetaan asetettuna metallidiskurssin ja kansallisen diskurssin leikkauskenttään. Aineistokseni olen valinnut seitsemän laulun lyriikat, joista jokainen lähestyy suomalaisuutta hieman eri näkökulmasta ja eri painotuksin. Jokainen laululyriikoista muodostaa omanlaisensa kuvan suomalaisuudesta.
Pohdin tutkielmassani lyriikoiden ”kertojien” positioitumista suhteessa suomalaisuuteen. Lyriikoiden suomalaisuus artikuloituu suhteessa toisiin kansallisuuksiin, mutta myös suhteessa valtion sisäiseen dynamiikkaan. Tärkeitä viitekehyksiä ovat kansallisessa diskurssissa keskeiset ja myös perinteiset: kansakunnan näkeminen perheenomaisena, valtion näkeminen kotina, kansallinen luonto ja kansallismaisema, mentaliteetti, sekä poliittinen historia. Lopuksi pohdin vaikutteita, jotka näyttävät kumpuavan kansallislaulugenrestä; tutkimusaineistoni metallilyriikoilla ja Maamme-laululla on yllättävän paljon yhteistä. >> |
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Finnish: Vaasan yliopisto; Swedish: Vasa universitet |
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Master's thesis |
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University of Vaasa |
Place of Publication |
Vaasa, Finland |
Editor |
Mäntymäki, Tiina (Supervisor) |
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English |
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Finnish |
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Faculty of Philosophy, English Studies; not found in ProQuest Dissertations & Theses Global database |
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Call Number |
INTech @ brianhickam2019 @ |
Serial |
2522 |
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