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| Author | Weber, Joe | ||||
| Title | Ronnie James Dio: the man on the silver mountain | Type | Journal Article | ||
| Year | 2024 | Publication | Journal of Maps | Abbreviated Journal | |
| Volume | 20 | Issue | 1 | Pages  |
2349164 |
| Keywords | Ronnie James Dio (artist); Concerts | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2567 | ||
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| Author | Castro, Álvaro Leonel de Oliveira; Rezende, Daniel Carvalho de | ||||
| Title | Music consumption and taste internalisation practices among educated Brazilian metal listeners and members of musical scenes | Type | Journal Article | ||
| Year | 2023 | Publication | Poetics | Abbreviated Journal | |
| Volume | 99 | Issue | Pages |
101803 | |
| Keywords | Sociology; Social relations | ||||
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| ISSN | 0304422X | ISBN | Medium | ||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2460 | ||
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| Author | Rivero-Vadillo, Alejandro | ||||
| Title | “An Indigenous Fucking Blood Revival”: Pagan Aesthetics in The US Indigenous Black Metal Scene | Type | Journal Article | ||
| Year | 2024 | Publication | Complutense Journal of English Studies | Abbreviated Journal | |
| Volume | 32 | Issue | Pages |
e81707 | |
| Keywords | Pagan Black Metal; Nechowen (band); Pan-Amerikan Native Front (band); Indigenous metal | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2552 | ||
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| Author | Yildirim, Yavuz | ||||
| Title | Heavy metal in Turkey: Tracking the tensions of democratization in the 1990s | Type | Journal Article | ||
| Year | 2023 | Publication | Sociology Compass | Abbreviated Journal | |
| Volume | 17 | Issue | Pages |
e13122 | |
| Keywords | Turkey; Democracy; Politics | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2538 | ||
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| Author | Gracyk, Theodore | ||||
| Title | Heavy Metal: Genre? Style? Subculture? | Type | Journal Article | ||
| Year | 2016 | Publication | Philosophy Compass | Abbreviated Journal | |
| Volume | 11 | Issue | Pages |
775-785 | |
| Keywords | Sociology; Genre; Subculture | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2333 | ||
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| Author | El Harami, Said; Yachoulti, Mohammed | ||||
| Title | Youth Heavy Metal Bands in Morocco: Resistance and the Struggle for Change | Type | Journal Article | ||
| Year | 2023 | Publication | ESI Preprints | Abbreviated Journal | |
| Volume | Issue | Pages |
742-777 | ||
| Keywords | Morocco; Lyrics; Symbolism; Activism; Sociology | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2546 | ||
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| Author | Hosman, Sarah Siltanen | ||||
| Title | Gender inequality in metal music production (book review) | Type | Journal Article | ||
| Year | 2019 | Publication | Gender & Society | Abbreviated Journal | |
| Volume | 33 | Issue | 4 | Pages |
652-654 |
| Keywords | Book review | ||||
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| Publisher | SAGE Publications, Inc. | Place of Publication | Editor | ||
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| ISSN | 0891-2432 | ISBN | Medium | ||
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2228 | ||
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| Author | Pascual Auqué , Patricia | ||||
| Title | Héroes y poetas. Influencias literarias en la discografía de Héroes del Silencio | Type | Journal Article | ||
| Year | 2020 | Publication | Tropleías | Abbreviated Journal | |
| Volume | 7 | Issue | Pages |
625-640 | |
| Keywords | Héroes del Silencio (band); Poetry; Symbolism | ||||
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| Notes | Approved | no | |||
| Call Number | UCM-CAM @ amaranta.saguar.garcia @ | Serial | 2495 | ||
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| Author | Batista, Marcelo R. | ||||
| Title | United Forces: An Archive of Brazil's Raw Metal Attack, 1986-1991 | Type | Book Whole | ||
| Year | 2023 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages |
528 | ||
| Keywords | Brasil; Brazil; Sepultura; Carcass; Darkthrone; Mystifier; Sarcófago | ||||
| Abstract | “This massive 528pp document of the 1980s Brazilian metal uprising includes over 1,000 images, photos, and flyers in ten narrative chapters...United Forces presents the story in vivid color, along with Batista's own headbanger tale―from humble origins collecting scrap metal to buy Motörhead albums to DIY operator funneling his country's metal passion to receptive listeners in Europe and North America. The changes in Brazil during the 1980s and early 1990s serve as background for a full-bore metal revolution, as Batista's story brings to life the crucial South-of-the-equator 1980s scene that inspired all the forthcoming underground extremes to come.” (source: Amazon.com) | ||||
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| Publisher | Bazillion Points | Place of Publication | Editor | ||
| Language | English | Summary Language | Original Title | ||
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| ISSN | ISBN | 1935950215; 978-1935950219 | Medium | ||
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2516 | ||
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| Author | Martínez, Susana González | ||||
| Title | Enseñar a transgredir: Metal feminista, a través de la investigación-acción participativa, como herramienta artística de liberación y pedagógica en el aula | Type | Book Whole | ||
| Year | 2023 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages |
528 | ||
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| Abstract | Esta tesis presenta, en primer lugar, una indagación profunda sobre las manifestaciones feministas en la música y cultura metal, desde un abordaje transdisciplinar y multidimensional. En tal sentido, el texto ofrece un análisis crítico exhaustivo de los diversos discursos, procesos relacionales y prácticas corporales del metal feminista en diferentes contextos del Norte y el Sur Global, desde un enfoque interseccional, psicosociológico y pedagógico feminista. Tal análisis está basado en entrevistas en profundidad realizadas con 21 bandas feministas de metal de diferentes países, 32 letras de canciones y 19 portadas de álbumes. Así como otras fuentes complementarias, tales como imágenes promocionales, declaraciones de las bandas en medios, webs/perfiles promocionales, y perfiles personales de las/los artistas en redes sociales. De otro lado, esta tesis, entra en conversación con el campo más amplio de las artes —de forma comparativa— ofreciendo una identificación de los vínculos y distancias del metal feminista con el arte feminista de los 70. Delinea, por otro lado, un patrón didáctico observable en la práctica metal extrema feminista, que permite su conceptualización como praxis liberatoria y, finalmente, como un ejercicio bastardo de a/r/t/ografía ritual social. En segundo término, el texto muestra el desarrollo de un proyecto de investigación-acción participativa (IAP) internacional, con la comunidad feminista del metal. La IAP —desarrollada en entornos virtuales por un grupo de 36 personas (artistas, activistas y académicas) integrantes de las escenas de metal— ofrece un diagnóstico social sobre las barreras de género que afectan la participación en las diferentes escenas de metal, en contextos del Norte y el Sur Global. Dicho diagnóstico social está desarrollado a partir de una revisión bibliográfica panorámica y una encuesta virtual global, en la que han participado 32 países. Al tiempo, la IAP ha generado varios productos destinados a la intervención/devolución comunitaria de la información obtenida. Por ende, se ofrecen en este texto: un artículo colectivo, una web, un vídeo-hechizo en consonancia con las estrategias simbólicas del metal feminista, y la serie de vídeos explicativos No Me Toques el Ampli. Con todo, el diseño del proyecto IAP ha conseguido informar de forma rigurosa sobre la clave contextual del fenómeno de estudio objeto de esta disertación —el metal feminista—, al tiempo que ha contribuido a realizar un aporte en pro de los intereses de los sujetos/comunidades de estudio. Por último, esta tesis muestra el desarrollo de una experiencia piloto en el ámbito educativo, que ha tenido como fin explorar la potencialidad que tienen las estrategias y técnicas artísticas del metal feminista identificadas, como herramientas en el marco de las pedagogías feministas restaurativas. En conclusión, este estudio contribuye a la comprensión de las expresiones artístico-políticas feministas dentro del campo especializado de los estudios del metal y, del arte feminista, en un sentido más amplio. Asimismo, ha servido al impulso de las reivindicaciones feministas en las escenas artísticas del metal, haciendo permeables los límites de la investigación académica —en particular dentro del campo del metal— mediante un enfoque metodológico socialmente comprometido. De otro lado, realiza un aporte a las pedagogías feministas restaurativas, a través de la exploración de una fórmula didáctica innovadora, centrada en el uso de nuevas herramientas y técnicas. En un sentido más amplio y último término, este estudio pone un granito de arena a la empresa utópica de la llamada ecología de saberes —a partir de la interacción de prácticas científicas, prácticas artísticas subalternizadas y saberes encarnados— como una fuente de conocimiento valioso, para activar un pensamiento científico interconectado, siguiendo a Boaventura de Sousa Santos (2010, pp. 52-53). [This dissertation presents, first, an in-depth perusal of feminist artistic manifestations in metal music and culture from a transdisciplinary and multidimensional approach. In this sense, the text offers an exhaustive critic analysis of the diverse discourses, relational processes, and bodily practices of feminist metal in different contexts of the Global North and South from an intersectional, psycho-sociological, and pedagogical feminist approach. The analysis is based on in-depth interviews conducted with 21 feminist metal bands from different countries, 32 song lyrics and 19 album covers. As well as other complementary sources, such as promotional images, statements of the bands in the media, promotional websites/profiles, and personal profiles of the artists in social networks. Likewise, this dissertation, enters conversation with the broader field of the arts —in a comparative way— offering an identification of the links and distances of feminist metal with feminist art of the 1970s. On the other hand, it delineates a didactic pattern observable in extreme feminist metal music, which allows its conceptualization as a liberatory praxis and, finally, as a bastard exercise in socioritual a/r/t/ography. Secondly, the text explains the development of an international participatory action-research (AR) project with the feminist metal community. The AR — developed in virtual environments by a group of 36 people (artists, activists, and academics) from the metal scenes— offers a social diagnosis of the gender barriers that affect participation in the different metal scenes in contexts of the Global North and South. This social diagnosis is based on a panoramic literature review and a global survey in which 32 countries participated. At the same time, the AR project has generated several products aimed at community intervention/dissemination of the information obtained. Thus, this thesis offers the following: a collective article, a web page, a video-spell in line with the symbolic strategies of feminist metal, and the series of explanatory videos Don't Touch My Amp. All in all, the design of the AR project has succeeded in rigorously informing the contextual key to the study phenomenon object of this dissertation —feminist metal— while contributing to the interests of the subjects and community of study. Finally, this dissertation shows the development of a pilot experience in the educational field, which aimed to explore the potential of the identified feminist metal art strategies and techniques as tools within the framework of restorative feminist pedagogies. Therefore, this study contributes to the understanding of feminist artisticpolitical expressions within the specialized field of metal studies, and feminist art in a broader sense. It has also served to advance feminist claims in the metal scenes, permeating the boundaries of academic research —particularly within the field of metal— through a methodological approach socially committed. It also contributes to feminist restorative pedagogies by exploring an innovative didactic formula focused on using new tools and techniques. In a broader sense and lastly, this study contributes to the utopian enterprise of the so-called ecology of knowledge —based on the interaction of scientific practices, subalternized artistic practices and embodied knowledge— as a source of valuable knowledge, which activates an interconnected scientific thought, following Boaventura de Sousa Santos (2010, pp. 52-53).] * Source for both was: https://digibug.ugr.es/handle/10481/89687 |
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| Address | https://digibug.ugr.es/contact | ||||
| Corporate Author | Thesis | Doctoral thesis | |||
| Publisher | Universidad de Granada, Escuela de Doctorado de Humanidades, Ciencias Sociales y Jurídicas, Programas de Escuela de Doctorado de Humanidades. | Place of Publication | Granada, Andalusia, Spain | Editor | UniveVallecillos, Rafael Liñán; Varas-Díaz, Nelson |
| Language | Spanish | Summary Language | English | Original Title | |
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| ISSN | ISBN | 9788411951623 | Medium | ||
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| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2537 | ||
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