| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Flansburg, Glenn |
Performing Gender – Hell Hath No Fury Like a Woman Horned |
2020 |
|
|
|
|
|
|
Fridh, Sanna |
Lord Satan’s Secret Rites and Satanism as Self-Therapy: The Creation of a Masculinity Gender Identity within Black Metal |
2011 |
Can I play with madness? Metal, dissonance, madness and alienation |
|
177-184 |
|
|
|
Friesen, Bruce K.; Helfrich, Warren |
Social Justice and Sexism for Adolescents: A Content Analysis of Lyrical hemes and Gender Presentations in Canadian Heavy Metal Music, 1985-1991 |
1998 |
Youth culture: identity in a postmodern world |
|
263-285 |
|
|
|
Fuertes Sánchez, Fernando; Fuertes Sánchez, Nelba |
Seremos caos hasta el final: Metaleras, arte negro y destrucción |
2024 |
La Fuerza, Influencia y Tensiones de las Mujeres del Underground/Metal Boliviano |
|
179-208 |
|
|
|
Gerk, Sarah |
Placing Gender: Alice Cooper’s Motor City Move |
2016 |
Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches |
|
84-98 |
|
|
|
Glitsos, Laura |
“Sticky Business”: An Examination of Female Musicians in the Context of Perth’s Metal Community |
2020 |
Popular Music and Society |
43 |
93-113 |
|
|
|
Glitsos, Laura |
Frontierswomen and the Perth Scene: Female Metal Musicians on the ‘Western Front’ and the Construction of the Gothic Sublime |
2019 |
Australian Metal Music |
|
91-110 |
|
|
|
Grajdian, Maria |
Liquid Identity: Love, Heavy Metal and the Dynamics of Gender in Anime Soundtracks |
2016 |
Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches |
|
209-226 |
|
|
|
Grant, Judith |
Boys Interrupted: The Drama of Male Bonding in Some Kind of Monster |
2007 |
Metallica and Philosophy: a crash course in brain surgery |
|
219-231 |
|
|
|
Grant, Judith |
Bring the Noise: Hypermasculinity in Heavy Metal and Rap |
1996 |
Journal of Social Philosophy |
27 |
5-31 |
|
