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Kruk, J., & Robertson, W. C. (2023). An annotated interview with Beastwars: Language, identity and place in New Zealand metal. Perfect Beat, 22(1), s. p.
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Silva, M. A. dos S., & Polivanoz, B. (2015). “Mar de camisas pretas”: camisas de bandas como mediadoras de sentidos e experiências na cena do heavy metal. Logos, 22(2), s. p.
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Castillo Bernal, S. (2007). EL CUERPO HUMANO COMO INSTRUMENTO SUBCULTURAL DE LOS INICIOS DEL HEAVY METAL AL SIMBOLISMO RITUAL DEL BLACK METAL. Fuentes Humanísticas, 19(34), 43–57.
Abstract: En el caso que aquí nos atañe, las manifestaciones corpóreas cargan un lenguajesimbólico que puede ser leído por los integrantes de una subcultura y, en consecuencia, puede ser diseccionado a partir de un ejercicio interpretativo. Decimos lo anterior en función de que la misma cultura, siguiendo a Millán (2001: 23), puede considerarse como un sistema de lenguaje articulado. Sobra decir que las significaciones corporales son una construcción social, por lo que su edificación varía de acuerdo con los ritmos históricos de aparición del saber y las tradiciones singulares de la cultura (Fournier y Jiménez, en prensa; Foucault, 1999).
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Yepes Aguirre, J. R. (2013). Política cultural neoliberal y la música heavy metal en la ciudad de Huánuco, Perú, 1990-2010. Investigaciones Sociales, 17(30). Retrieved May 10, 2024, from http://dx.doi.org/https://doi.org/10.15381/is.v17i30.8035
Abstract: Este estudio estuvo orientado a identificar las bondades que tienen el método hegeliano en los diferentes aspectos de la política y la música con la finalidad de analizar su relación. En tal sentido se planteó los siguientes objetivos: determinar la relación entre la política cultural neoliberal2 y la música heavy metal3, analizar su desarrollo y sus características. Se hizo uso de la encuesta y la entrevista los que se aplicaron a una muestra no probabilística de 30 jóvenes (de 18 a 35 años de edad) metaleros de Huánuco. Se identificó tres generaciones: 1era. Generación de Metaleros 1990-1996 (tesis); 2da. Generación de Metaleros 1997-2003 (antítesis); 3era. Generación de Metaleros 2004-2010 (síntesis). Se evidencia la existencia de una contradicción dialéctica entre la música heavy metal (la cual forma parte de una subcultura) y la cultura dominante en el mundo (en este caso la política cultural neoliberal), ambas evidencian una relación directa no solamente en el aspecto cronológico, sino en el plano ideológico.
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Pichler, P. (2023). To the sources! On historical source criticism in metal studies. Popular Music History, 15(1), 54–77.
Abstract: Metal studies is usually considered to be a fundamentally interdisciplinary field of research. However, the disciplines that were included at its beginning (mostly sociology, cultural anthropology, musicology, and philosophy) are still theoretically dominant. As a consequence, several important research questions that do not reflect these disciplines’ epistemologies have remained unanswered to this day. To a great extent, this applies to historical research questions on metal scenes. In this respect, the author argues that metal studies could benefit from the expertise of history in general and source criticism in particular. In order to develop this argument, necessary basic traits of contemporary historical source criticism are introduced. Then, the author proceeds by individually discussing three fundamental types of sources that are structurally tied to the historical long-term processes in metal scenes: concert flyers, album covers and band T-shirts. Research into the Styrian metal scene in south-eastern Austria provides examples. To conclude, it is posited that starting from a semiotic concept of source criticism and then adapting such a concept for the specific purposes of metal studies is necessary to nurture historical awareness and the accuracy of relevant research.
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Stašová, G., Vrzal, M., & Nenadalová, J. (2022). A Man Behind Everything? Motivational Sources of Metal Listening Among Female Audiences. Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura, 14(3). Retrieved May 10, 2024, from http://dx.doi.org/DOI 10.24917/20837275.14.3.8
Abstract: “The term “female metalhead” may sound rather abstract. What does she look like and what does she think? Is there a typical female metalhead? This article summarizes qualitative research on woman’s motivational resources for participation in the contemporary Czech metal subculture. It discusses factors related to why women listen to metal and the role of men in this process. The research is based on seventeen semi-structured interviews with women in Czech metal. Respective research questions focus on female metalheads’ understanding of their position inside the subculture, their visual appearance, reasons for inclination to metal (e.g., partner’s influence or an attraction to the metal community), the issue of sex symbols in the metal industry, and issues of elitism and exclusivity. Results show that women within the metal subculture strike a balance between masculinity and femininity and often judge their surroundings from the perspective on these two poles. However, the primary inspiration still drives from the male perspective with its typical visual and musical characteristics.”
“This article is a reworked version of Gabriela Stašová’s paper Za vším hledej muže? Motivační zdroje poslechu metalu u ženského publika (A man behind everything? Motivational sources of metal listening among female audiences) presented at the 5th Czech Conference about Metal (Brno, 2021) on the theme scenes, gender, identities. Due to its topic, the conference (with Stašová’s contribution in particular) received a broad response from the public and aroused controversy within a sector of Czech metal subculture. The controversy centered on the perception that the study of gender problematics (gender studies) and metal studies – as well as the social sciences and humanities in general-–are useless pursuits (see Miroslav Vrzal’s article in this issue)” (Source for both: this article)
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Nink, T., & Heesch, F. (2023). Metal Ballads as Low Pop? An Approach to Sentimentality and Gendered Performances in Popular Hard Rock and Metal Songs. Arts, 12(1), 38.
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Núñez, M. de la L. (2023). Las portadas de Yana Raymi como una expresión de neobarroco peruano: la resistencia gráfica de los guerreros wankas. UCOARTE. Revista De Teoría E Historia Del Arte, 12, 236–260.
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Silva, M. A. dos S., & Sá, S. P. de. (2014). Duas pernas, um braço: a banda Katingation e sua apropriação do death metal no cenário pós-guerra civil angolano. Comunicação Mídia E Consumo, 11(31), 65–81.
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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.]
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