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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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Cordero, J. (2009). Unveiling Satan’s Wrath: Aesthetics and Ideology in Anti-Christian Heavy Metal. Journal of Religion and Popular Culture; Toronto, 21(1), 1–15.
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Coulombe, A. P. (2018). Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture. Master's thesis, University of Arizona, Ann Arbor.
Abstract: This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians.
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d’Hont, C. (2017). “I Am Your Faggot Anti-Pope”: An Exploration of Marilyn Manson as a Transgressive Artist. European Journal of American Studies; London, 12(2).
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Eckerström, P. (2022). Extreme heavy metal and blasphemy in Iran: the case of Confess. Cont Islam, . Retrieved May 13, 2024, from http://dx.doi.org/https://doi.org/10.1007/s11562-022-00493-7
Abstract: Since the revolution in 1979, the Islamic Republic of Iran has imprisoned musicians, especially punk, hip-hop, and hard rock bands, as well as those playing heavy metal subgenres. Extreme heavy metal artists and fans emerged in the 1990s. The government soon targeted them as Satanists and began a systematic crackdown on metalheads. The metalcore band Confess is the most well-known case. The band was arrested in 2015 on counts of blasphemy, disturbing public opinion through the production of music, participating in interviews with the opposition media and propaganda against the Islamic Republic of Iran, among other charges. The majority of secular countries today do not consider extreme heavy metal to be transgressive. This is not the case in contexts where religious traditions have a significant influence on society. By analysing the narrative of the band Confess, the purpose of this paper is to provide an understanding of how Iranian extreme metal musicians resist religious oppression, challenge their government, religious precepts, and social values through their music.
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Epp, A. (2011). Heavy Metal und Islam – ein Antagonismus? Zur Rezeption und Verbreitung des Heavy Metals in Staaten der MENA. In R. F. Sascha, & H. Schwaab (Eds.), ”Metal matters”. Heavy Metal als Kultur und Welt (pp. 343–356). Münster: Lit.
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Greene, P. D. (2011). Electronic and affective overdrive: tropes of transgression in Nepal’s heavy metal scene. In J. Wallach, H. M. Berger, & P. D. Greene (Eds.), Metal rules the globe: heavy metal music around the world (pp. 109–134). Durham: Duke University Press.
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Hjelm, T. (2015). Controversial Metal And Controversial Religion: Theorising The Connections. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 494–502). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
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Horváth, F. S. (2011). Protest, Provokation und Peer-Group-Bildung. Heavy Metal in Ungarn und seine Rezeption in Siebenbürgen in den 1980er Jahren. In R. F. Sascha, & H. Schwaab (Eds.), ”Metal matters”. Heavy Metal als Kultur und Welt (pp. 329–342). Münster: Lit.
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Kirner-Ludwig, M., & Wohlfarth, F. (2018). METALinguistics: Face-threatening taboos, conceptual offensiveness and discursive transgression in extreme metal. Metal Music Studies, 4(3), 403–432.
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