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Death Metal and Music Criticism by Michelle Phillipov Pdf
Death metal is one of popular music's most extreme variants, and is typically viewed as almost monolithically nihilistic, misogynistic, and reactionary. Studies tend to view the music as a reflection of these listeners' social conditions and are concerned with metal's pleasures so long as these can be seen within that context: as responses to cultural and economic circumstances. Michelle Phillipov's Death Metal and Music Criticism: Analysis at the Limits, in contract, offers an account of listening pleasure on its own terms. Through an analysis of death metal's sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the 'real' lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a 'technical' or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either 'progressive' or 'reactionary.' By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipov's Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listening—it also offers some important starting points for a rethinking of popular music scholarship as a whole.
"That science-fiction future in which technology would make everything very good—or very bad—has not yet arrived. From our vantage point at least, no age appears to have had a deeper faith in the inevitability and imminence of such a total technological transformation than the early twentieth century. Russia was no exception."—from the introduction In the Soviet Union, it seems, armoring oneself against the world did not suffice—it was best to become metal itself. In his engaging and accessible book, Rolf Hellebust explores the aesthetic and ideological function of the metallization of the revolutionary body as revealed in Soviet literature, art, and politics. His book shows how the significance of this modern myth goes far beyond the immediate issue of the enthusiasm with which the Bolsheviks welcomed such a symbolic transfiguration and that of our own uneasy attraction to the images of metal flesh and machine-men. Hellebust's literary examples range from the famous (Pasternak's Doctor Zhivago) to the forgotten (early Soviet proletarian poets). To these he adds a mix of non-Russian references, from creation myths to comic book superheroes, medieval alchemy to Moby-Dick. He includes readings of posters, sculpture, and political discourse as well as cross-cultural comparisons to revolutionary France, industrial-age America, and Nazi Germany. The result is a fascinating portrait of the ultimate symbols of dehumanizing modernity, as refracted through the prism of utopian humanism.
“[In THE NINTH METAL] debris from a comet drops a fabulously valuable new metal on Northfall, MN., turning it into a bloody, brawling boomtown. Great characters, fine writing, totally engrossing.” —Stephen King “Take one part dystopia, one part sci-fi, two parts apocalypse, then ride them roughshod through a bleak and bloody western, and it still wouldn't get close to what Ben Percy does here, which is blow open the core of humanity's dark heart.” —Marlon James, Booker Prize award-winning author of Black Leopard, Red Wolf “Whether you choose to think of him as the Elmore Leonard of rural Minnesota or the Stephen King of Science Fiction, Ben Percy—with his extraordinary and unrelenting eye—dishes up humanity like some kind of otherworldly blue plate special, at once deeply familiar and wildly new.” —Margaret Stohl, #1 New York Times best-selling author of the Caster Chronicles “When Benjamin Percy publishes a novel, I have got to read that novel. The Ninth Metal continues his streak of thrilling, incisive genre bending goodness. It’s a sci-fi novel, a crime novel and a super-hero novel, too. Audacious and intelligent and exactly what I was dying to read.” —Victor LaValle, author of The Changeling IT BEGAN WITH A COMET… At first, people gazed in wonder at the radiant tear in the sky. A year later, the celestial marvel became a planetary crisis when Earth spun through the comet’s debris field and the sky rained fire. The town of Northfall, Minnesota will never be the same. Meteors cratered hardwood forests and annihilated homes, and among the wreckage a new metal was discovered. This “omnimetal” has properties that make it world-changing as an energy source…and a weapon. John Frontier—the troubled scion of an iron-ore dynasty in Northfall—returns for his sister’s wedding to find his family embroiled in a cutthroat war to control mineral rights and mining operations. His father rightly suspects foreign leaders and competing corporations of sabotage, but the greatest threat to his legacy might be the US government. Physicist Victoria Lennon was recruited by the Department of Defense to research omnimetal, but she finds herself trapped in a laboratory of nightmares. And across town, a rookie cop is investigating a murder that puts her own life in the crosshairs. She will have to compromise her moral code to bring justice to this now lawless community. In this gut-punch of a novel, the first in his Comet Cycle, Ben Percy lays bare how a modern-day goldrush has turned the middle of nowhere into the center of everything, and how one family—the Frontiers—hopes to control it all.
Includes interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, this book demonstrates the power and subtlety of an often surprising and misunderstood musical form. It draws on first-hand research to explore the global extreme metal scene.
This updated reissue of Mark LeVine’s acclaimed, revolutionary book on sub- and countercultural music in the Middle East brings this groundbreaking portrait of the region’s youth cultures to a new generation. Featuring a new preface by the author in conversation with the band The Kominas about the problematic connections between extreme music and Islam. An eighteen-year-old Moroccan who loves Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. A young Lebanese singer who quotes Bob Marley’s “Redemption Song.” Heavy metal, punk, hip-hop, and reggae are each the music of protest, and are considered immoral by many in the Muslim world. As the young people and subcultures featured in Mark LeVine’s Heavy Metal Islam so presciently predicted, this music turned out to be the soundtrack of countercultures, uprisings, and even revolutions from Morocco to Pakistan. In Heavy Metal Islam, originally published in 2008, Mark LeVine explores the influence of Western music on the Middle East and North Africa through interviews with musicians and fans, introducing us to young people struggling to reconcile their religion with a passion for music and a thirst for change. The result is a revealing tour de force of contemporary cultures across the Muslim majority world through the region’s evolving music scenes that only a musician, scholar, and activist with LeVine’s unique breadth of experience could narrate. A New York Times Editor’s Pick when it was first published, Heavy Metal Islam is a surprising, wildly entertaining foray into a historically authoritarian region where music reveals itself to be a true democratizing force—and a groundbreaking work of scholarship that pioneered new forms of research in the region.
A poetic exploration of the new world created by the collision of the biological body with technology and culture. For more than 3,000 years, humans have explored uncharted geographic and spiritual realms. Present-day explorers face new territories born from the coupling of living tissue and metal, strange lifeforms that are intelligent but unconscious, neither completely alive nor dead. Our bodies are now made of machines, images, and information. We are becoming cultural bodies in a world inhabited by cyborgs, clones, genetically modified animals, and innumerable species of human/information symbionts. Ollivier Dyens's Metal and Flesh is about two closely related phenomena: the technologically induced transformation of our perceptions of the world and the emergence of a cultural biology. Culture, according to Dyens, is taking control of the biosphere. Focusing on the twentieth century—which will be remembered as the century in which the living body was blurred, molded, and transformed by technology and culture—Dyens ruminates on the undeniable and irreversible human/machine entanglement that is changing the very nature of our lives.
This multi-disciplinary book explores the textual analysis of heavy metal lyrics written in languages other than English including Japanese, Yiddish, Latin, Russian, Hungarian, Austrian German, and Norwegian. Topics covered include national and minority identity, politics, wordplay, parody, local/global, intertextuality, and adaptation.
* Laina Dawes is not always the only black woman at metal shows and she's not always the only headbanger among her black female friends. In this book, she questions herself, her hardcore heroes and dozens of black punk, metal and hard-rock fans to answer a knee-jerk question she's heard a hundred times 'What are you doing here?'.