| Description |
1 online resource (252 p.) |
| Series |
Emerald Studies in Metal Music and Culture Ser |
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Emerald Studies in Metal Music and Culture Ser
|
| Contents |
Intro -- Half Title Page -- Series Editor Page -- Title Page -- Copyright Page -- Dedication -- Contents -- List of Figures and Examples -- Author Biographies -- Foreword -- Preface -- Acknowledgements -- Introduction -- Chapter One: Interpretive Performance Autoethnography -- Autoethnographic Methodological Markers: Exhumation through Catharsis -- Exhumation: Abuse and Interrogative Autoethnography -- Autoethnography as Praxis -- Interpretive Autoethnography: Performance and the Doubling of the Self -- Dialogical Space as Black Metal Performance -- Catharsis |
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Chapter Two: 'Women! Stop Ruining Metal!' Mapping Extreme Metal -- Gender and Extreme Metal -- Audience -- Women, Heavy Metal Music, and Trauma (Amanda DiGioia) -- Violence Against Women Is Not Subversive: Hostile Language and Violence -- I Am Sick of Hearing About 'Fucked With a Knife' (1994) at Academic Conferences: Death Metal and Misogyny -- 'What Are You Doing Here?' -- Femme Liminale: Corporeal Performativity in Death Metal -- The Death Metal Hegemony -- Performing Death Metal -- Chapter Three: Black Metal's Historical Analysis: The Story of Male Metal |
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Mapping the Black Metal Epochs: Black Metal and Its Discursive Form and Function -- Mapping the Mythology of the Second Wave -- Blackened Ecology: Third-Wave Self-Embodiment and Charting the Hinterland -- Chapter Four: The Feminine Absent -- Fertile Excription: The Cosmic Womb of the Abyss -- Masculine Musics, Feminine Endings: Hyperborean Masculinity and Transcendental Femininity -- Chapter Five: Of Wolves and Witches -- The Howl of the Wolf Tone: Void Harmonics and Occultising Entropy -- Women on Stage: Mater Omnium ad Feminam |
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Malefica: the Witch as Restorative Feminism in Female Black Metal Performance -- Chapter Six: Denigrata as Performance -- Deterritorialising Black Metal Signifiers -- Denigrata as Perichoresis -- Denigrata's Missa Defunctorum: Requiem Mass in A Minor as Apophatic Liturgy -- Aesthetics in Denigrata -- Denigrata: The Parallax View -- Butler and Denigrata: Subject Representation -- Giving an Account of Oneself: Butler and Autoethnography -- Performativity and Corporeality -- Denigrata as Abjection: Fear and Loathing in Black Metal -- The Corpse |
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She Who Can Wreck the Infinite: Jouissance and Sublime Alienation -- Chapter Seven: Conclusion. Liber Sum: Restorative Visibility and the Feminine Present -- Epilogue -- Peroration: Dying Words as Abominable Lifeblood -- The Damoclean Diagnosis -- Solve et Coagula: Dissolve the Rotting Corpse to Forge a Sacred Configuration -- Hail Baphomet -- Borders and Crossroads: Chthonic Interiorities Made Flesh -- Hail Hekate -- Our Lady of Blood: Vivifying Oblivion -- Hail Babalon -- Glossary of Terms -- Select Bibliography -- Further Reading -- Sources of help |
| Summary |
This important book weaves together trauma, black metal theory and disability into a story of both pain and freedom. Drawing on her many years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny and the healing power of performance |
| Notes |
Description based upon print version of record |
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Domestic abuse: 'Why doesn't she just leave?' |
| Subject |
Shadrack, Jasmine Hazel
|
|
Black metal (Music) -- Social aspects
|
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Misogyny.
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Disabilities.
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Psychic trauma.
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Music -- Health aspects
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Heavy Metal music.
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Music, Genres & Styles, Heavy Metal.
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Disabilities
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Misogyny
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Psychic trauma
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| Form |
Electronic book
|
| ISBN |
1787569276 |
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9781787569270 |
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