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Akoto, P. (2005). ”Menschenverachtende Untergrundmusik?”: Todesfaszination zwischen Entertainment und Rebellion am Beispiel von Gothic-, Metal- und Industrialmusik. Ph.D. thesis, Universität Münster, Münster.
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Akoto, P. (2005). ”Menschenverachtende Untergrundmusik?”: Todesfaszination zwischen Entertainment und Rebellion am Beispiel von Gothic-, Metal- und Industrialmusik. Münster: Telos-Verl.
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Barnett, B. A. (2017). Black Sabbath’s pioneering lyrical rhetoric: Tragic structure and cathartic potential in song narratives. Metal Music Studies, 3(1), 81–96.
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Bartosch, R. (2015). Poetik der Provokation. ”Metal Studies”, ästhetische Wertung und das Spiel mir Bedeutungen in den Songtexten von Hanzel und Gretyl, Cradle of Filth und Rammstein. In D. Stoop, & R. Bartosch (Eds.), (Un)Politischer Metal? Musikalische Artikulationen des Politischen zwischen Ideologie und Utopie (pp. 59–76). Trier: Wvt.
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Bénard, N. (2009). Les mythologies hard rock et métal : bricolage identitaire ou récit original ? Societes, 104(2), 65–72.
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Bénard, N. (2012). Les images de guerre dans la musique metal. Entre fascination et dénonciation. Societes, 117(3), 113–128.
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Benedik, J. (2008). Gods of thunder: the truths and lies that made heavy metal mythology. Ph.D. thesis, Kent State University, Kent.
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Binder, A. (1993). Constructing racial rhetoric: Media depictions of harm in heavy metal and rap music. American Sociological Review; Washington, 58(6), 753–767.
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Boyarin, S., Saguar García, A., Christensen, A., & Swinford, D. (2019). The Politics and Poetics of Metal’s Medieval Pasts. In R. Barratt-Peacock, & R. Hagen (Eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (pp. 71–80). London: Emerald.
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Burke, D. (2016). Esoteric Symbolism in Doom Metal. Bachelor's thesis, University of Southampton, Southampton.
Abstract: “By contrast, this study will focus on the way in which (some, but not all) doom metal artistsincorporate three cultural ideas into their works; horror, the occult, and the psychedelic. Whilstmuch of metal focuses on horror and monsters, particularly death metal, doom metal's use of moreesoteric material separates it from much of the larger metal genre, and connects it to an eclecticrange of cultural and musical influences. Doom metal's use of such paradigms has not beenexamined thus far, but there is much to be learned from such study; these cultural trends areintegral to understanding the history of esotericism and countercultural practice. In this study I willdefine each of those three cultural ideas, as well as further considering the cultural discourses thatcompose doom metal, and defining which styles within the genre are of the most interest. I will thenanalyse a range of music, album art and interviews with musicians, aiming to pinpoint how, and forwhat purpose, each band incorporates those elements into their style. Further, I will investigate howthese musicians and their works form part of larger zeitgeists (particularly that of esotericism), andwill consider how these artists, in different times and places, have come to utilise similar symbolsand ideas. These commonalities between musicians, I will argue, shows doom metal to be a 'glocal'musical phenomenon that has the ability to utilise a wide variety of cultural ideas and artifacts invariegated situations.” (from 4th page of introduction)
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