Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist Christian churches in the southeastern United States’ ‘Bible Belt’. One group may claim to celeb...
Jurnal Musik : Jurnal Ilmiah Seni Musik Vol. 1, No. 1, Januari 2009, p. 57-73Genre heavy metal serin...
The Oberammergau Passion Play is an impressive spectacle. The play’s typological tableaus and theolo...
In the mid-to-late 1990s, band Marilyn Manson seemed to strike a particular societal nerve that led ...
Wittgenstein’s comment that what can be shown cannot be said has a special resonance with ...
Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual rep...
Metal is perhaps the most extreme and aggressive form of contemporary Western popular music. Even th...
The purpose of my thesis is to extend the knowledge about an obscure cultural-religious relationship...
Historically speaking, metal music has always been about provoking a strong reaction. Depending on t...
With the rise of extremist fundamentalist groups, such as ISIS, it is important to note similar happ...
Across the United States every Halloween season hundreds of evangelical Christian churches and churc...
Matt Donahue: Hellraiser: Lemmy’s Religious Views Through the Prism of Theomusicology This paper w...
The cavernous mouth of hell was an iconographic convention representing the threshold of eternal dam...
This text expands on the wider discussion concerning the metal subculture and the public debate it c...
The power inherent in metal is well known to aficionados of the music and has been well documented i...
This article brings Slovoj Zizek’s articulation of Pauline Christianity into conversation with Norwe...
Jurnal Musik : Jurnal Ilmiah Seni Musik Vol. 1, No. 1, Januari 2009, p. 57-73Genre heavy metal serin...
The Oberammergau Passion Play is an impressive spectacle. The play’s typological tableaus and theolo...
In the mid-to-late 1990s, band Marilyn Manson seemed to strike a particular societal nerve that led ...
Wittgenstein’s comment that what can be shown cannot be said has a special resonance with ...
Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual rep...
Metal is perhaps the most extreme and aggressive form of contemporary Western popular music. Even th...
The purpose of my thesis is to extend the knowledge about an obscure cultural-religious relationship...
Historically speaking, metal music has always been about provoking a strong reaction. Depending on t...
With the rise of extremist fundamentalist groups, such as ISIS, it is important to note similar happ...
Across the United States every Halloween season hundreds of evangelical Christian churches and churc...
Matt Donahue: Hellraiser: Lemmy’s Religious Views Through the Prism of Theomusicology This paper w...
The cavernous mouth of hell was an iconographic convention representing the threshold of eternal dam...
This text expands on the wider discussion concerning the metal subculture and the public debate it c...
The power inherent in metal is well known to aficionados of the music and has been well documented i...
This article brings Slovoj Zizek’s articulation of Pauline Christianity into conversation with Norwe...
Jurnal Musik : Jurnal Ilmiah Seni Musik Vol. 1, No. 1, Januari 2009, p. 57-73Genre heavy metal serin...
The Oberammergau Passion Play is an impressive spectacle. The play’s typological tableaus and theolo...
In the mid-to-late 1990s, band Marilyn Manson seemed to strike a particular societal nerve that led ...