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Shadrack, J. (2018). Mater omnium and the cosmic womb of the abyss: Nomadic interiorities and matrifocal black metal performance. Metal Music Studies, 4(2), 281–292.
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Otterbeck, J., nueva, E. a. sitio externo E. enlace se abrirá en una ventana, Mattsson, D., & Pastene, O. (2018). “I am Satan!” black metal, Islam and blasphemy in Turkey and Saudi Arabia. Contemporary Islam; Dordrecht, 12(3), 267–286.
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Hill, R. L. (2018). Metal and sexism. Metal Music Studies, 4(2), 265–279.
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Round, J., & Savigny, H. (2018). Editorial: Metal and politics special issue. Metal Music Studies, 4(2), 257–264.
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dos Santos Silva, M. A. (2018). Letters, cassette tapes and zines: The circulation of Brazilian heavy metal as a gift system. Metal Music Studies, 4(1), 241–249.
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Pack, C. (2018). Hellbound in El Salvador: Heavy Metal as a Philosophy of Life in Central America. Ph.D. thesis, Johns Hopkins University, Ann Arbor.
Abstract: Heavy Metal in El Salvador has been a driving force of the underground culture since the Civil War in the 1980s. Over time, it has grown into a large movement that encompasses musicians, producers, promoters, media outlets and the international exchange of music, ideas and live shows. As a music based around discontent with society at large, Heavy Metal attempts to question the status quo through an intellectual exploration of taboo subjects and the presentation of controversial live shows. As an international discourse, Heavy Metal speaks to ideas of both socio-political and individual power based around a Philosophy of Life that exalts personal freedoms and personal responsibility to oneself and their society. As a community, it represents a ‘rage’ group, as defined by Peter Sloterdijk, that questions Western epistemologies and the doctrines of Christian Philosophy. This is done in different ways, by different genres, but at the heart is the changing of macro- (international) discourses into micro- (local) discourses that focus on those issues important to the geographic specificity of the region.
In the case of Black Metal, born in Norway, it is interpreted in El Salvador through the similarities between the doctrines of Hitler and those of the most famous dictator in the country’s history – General Maximiliano Hernandez – and then applied, ironically, to the local phenomena of the Salvadoran Street Gangs (MS-13 and 18s) and their desired extermination. It is also done through the re-interpreting of folk metal in the local phenomenon of tribal metal that reinterprets the indigenous through the lens of modern society and heavy metal’s ideas of power. Finally, the Salvadoran metalhead adapts the genre’s vulgarity and dark humor to fuel their own systems of dealing with harsh repression and existing within a society that seems to have no place for them. At the bottom though, much more than a community, Heavy Metal in El Salvador is a source of fraternalismo that utilizes the Philosophy of Life to bind its members together and to provide them a means by which to express their personal freedoms within a society that would happily see them limited.
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dos Santos Silva, M. A. (2018). Cartas, fitas cassete e fanzines: A circulação do metal no Brasil como modelo da dádiva. Metal Music Studies, 4(1), 231–239.
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Núñez, M. de la L., & Rivas, A. (2018). Musical representation in times of violence: The origins of Peruvian metal music during the general crisis of the eighties. Metal Music Studies, 4(1), 219–229.
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Núñez, M. de la L., & Rivas, A. (2018). Representaciones musicales en tiempos de violencia: Orígenes del metal peruano durante la crisis general de los años ochenta. Metal Music Studies, 4(1), 209–218.
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Almer, J., & Ondřej, D. (2018). “666 XXX”: Sexploitation in Czech and Slovak Black Metal and Porno-Gore Grind. Časopis za kritiko znanosti, domišljijo in novo antropologijo (Journal for the Critique of Science, Imagination, and New Anthropology), XLVI(274), 199–214.
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