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1
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Koncepcja satanizmu w drugiej fali black metalu

100%
Czarnecki P.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2019
|
issue 11(3) "Kultura metalowa w przestrzeni rytualnej i medialnej"
6-23
PL
Artykuł porusza kwestie satanizmu tzw. drugiej fali black metalu, która rozwinęła się w latach 90. XX wieku. Głównym jego celem jest analiza tego zjawiska na podstawie materiałów źródłowych, takich jak wypowiedzi muzyków oraz teksty utworów, która prowadzi do udzielenia odpowiedzi na główne pytania badawcze. Przede wszystkim: jakie były cechy specyficzne satanizmu blackmetalowego na poziomie doktryny oraz jak ta doktryna przekładała się na praktykę, na ile był on spójny wewnętrznie, jaki był stosunek blackmetalowych satanistów do innych współczesnych koncepcji satanizmu, a także jakie były główne źródła inspiracji jego twórców.
EN
The article focuses on the issue of Satanism of the so-called second wave of black metal, which emerged in the 1990s. Its major goal is the analysis of this phenomenon, on the basis of source materials, such as interviews with musicians or lyrics, which leads to the formulation of answers to the main research questions: what were the distinctive features of black metal Satanism on the level of doctrine, and how this doctrine influenced the practice of life; was this version of Satanism internally coherent, what was the attitude of black metal Satanists to other contemporary concepts of Satanism, and what were the main sources of their inspiration.
2
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„Czy taki diabeł straszny?” Fenomen black metalu i wpływ muzyki metalowej na odbiorców

94%
Szulc M.
Estetyka i Krytyka
|
2013
|
issue 1(28)
165-189
EN
Among many kinds of rock music, Heavy Metal became the icon of rebellion. Its enthusiasts are associated with sexual, alcoholic and drug excesses, as well as often dark and iconoclastic stage spectacles and satanic rituals. The most extreme variety of this kind of music, Black Metal, is particularly infamous. Considering the fact that art is sometimes a transfer belt between the artist and the recipient, we found it interesting to try and formulate a charac terization of this music genre as well as the subculture itself, describe how music preferences are shaped, and investigate the extent of influence of Black Metal/Heavy Metal on its recipients. A colloquial saying states that “you are what you eat” – if so, does the idea of death, darkness and evil propagated in the lyrics fall on fertile ground of nihilism, amplifying negative attitudes and fostering the formation of a pessimistic picture of the world? To answer these questions a wide overview of literature has been performed, revealing miscellaneous images of the listener. The results of the analysis present a more typical than atypical portrait of a teenage metal fan: capable of thinking and feeling, but above all rebelling against the reality in which he has come to live.
3

Black metal okiem filologa – próba językoznawczego zdefiniowania pojęcia

94%
Barski K.
Kwartalnik Młodych Muzykologów UJ
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2019
|
issue 4(43)
131–150
EN
The main purpose of the article is to present a new definition of an extreme music genre, namely black metal, based on the linguistic theory of prototypes. This necessity eventuates from its expansion, as a result of which the genre (specifically: its forms) is blowing up from within. In the face of diversity of black metal songs and the fact that all of traditional black metal’s main features could be invalidated by the opposing work of one of contemporary bands, a new, more capacious model of a definition is needed. The presented model is a prototypical categorisation derived from a postmodern linguistic paradigm.
4
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Czarny metal, białe twarze – corpse paint jako element performatywnej konstrukcji podmiotowości w black metalu

84%
Kubiak Z.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
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vol. 114
|
issue 2
162-175
EN
The aim of this article is to analyse the phenomenon of corpse pain, a style of stage make-up used by black metal bands developed in Norway in the 1990s. Black metal is a subgenre of rock music. Its relationship with violence is very complex and hardly obvious. The focal point of the culture that has developed around this genre is an independent subject whose functioning is based on the categories of agency, power, and domination perceived through the prism of masculinity. Such a subjectivity emerges from the consolidation of artists’ stage and non-stage lives, and needs to have its authenticity constantly confirmed. One way to authenticate it is through the use of corpse paint. This type of stage make-up connects musicians with the content they symbolise and seek to embody. The subject is born out of the performative act of merging with corpse paint. This specific make-up may be perceived as a stage mask originating from ancient theatre. The juxtaposition of corpse paint and a theatrical mask highlights the process that leads to the creation of a black metal subject while revealing its dark sides. One of them is masculinity based on the exclusion of others. In its most extreme manifestations it reaches out for elements of fascist or racist ideologies only to reassert its power and advantage, and thus strengthen its position in the world.
5
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„Tam, gdzie nas nie spotkamy, melancholia się nami nie nażre”. Romantyczna antropologia melancholiczna w polskim black metalu

84%
Barski K.
Academic Journal of Modern Philology
|
2023
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issue 19
9-23
EN
Among the many research fields, in terms of which heavy metal (counter)culture (more precisely, in this case, black metal) can be studied, the history of literature has a prominent place. The separation of the lyrics of the song from its musical layer makes it a poem which can be interpreted in various keys. As a result, it can also be established in various literary traditions. In opinion of the author – expressed also in other publications – black metal poetry has a romantic character for many reasons. In this article, literary studies combine with anthropological considerations. There is a specific concept of man that emerges from the interpretation of the lyrics, which makes us consider black metal musicians as “late grandchildren” of Romanticism, and black metal itself – as another incarnation of this movement in the history of culture. It turns out, that the most represented anthropological attitude which occurs in contemporary works of this genre is Romantic melancholy, the various manifestations of which are traced in each lyric.
6
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„Chainsaw Gutsfuck” – estetyka chaosu w muzyce blackmetalowej

84%
Sułkowska A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2019
|
issue 11(3) "Kultura metalowa w przestrzeni rytualnej i medialnej"
24-45
PL
Artykuł podejmuje próbę analizy estetyki i tropów stylistycznych odpowiedzialnych za kreację wizerunku (poza)scenicznego muzyków blackmetalowych oraz bada pod kątem medio- i kulturoznawczym kluczowe elementy kojarzone ze sceną, takie jak chaos, przyroda, ogień czy określone motywy w tekstach i nazwach zespołów. Na przykładzie zespołów pierwszej i drugiej fali oraz przedstawicieli nowej sceny black-/darkmetalowej praca zajmuje się zdefiniowaniem znaczenia chaosu w tym gatunku oraz wyróżnieniem poszczególnych podtypów jego dyskursywnego wykorzystania, co pozwala na zaobserwowanie wpływu, jaki aspekty te wywarły na zmiany stylistyczne i wizualne poszczególnych zespołów. Efektem pracy jest spójny obraz ukazujący związki aspektów wizualnych z merytorycznymi wątkami i ideologią black metalu, z uwzględnieniem poszczególnych dyskursów obecnych w nim współcześnie.
EN
The article analyses the significance of aesthetic and stylistic tropes in the creation of the stage presence of black metal musicians, as well as investigates, from the perspective of media and culture studies, other components associated with the visual side of the genre, such as chaos, nature, violence or the usage of four elements in the construction of the genre atmosphere. Using as an example the bands representing the first and second wave of black metal, along with new proponents of extreme metal stage, the study defines the role of chaos in black metal, specifying its subcategories in terms of discursive usage, allowing to sketch the influence these elements had on the changes and evolution of certain bands’ image. The article aims to present the analogies between visual and factual aspects and black metal-ideology, with special attention being paid to the modern discourses defining today’s condition of the genre.
7
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Od undergroundu do mainstreamu – rozwój polskiego black metalu w XXI wieku

84%
Polakowski F.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2018
|
issue 10(3) "Studia nad kulturą metalową"
95-107
PL
W XXI wieku obserwujemy, w szczególności na gruncie polskim, wyraźny renesans black metalu jako gatunku, który w latach 90., przez jego rebeliancki podówczas charakter, strącony został w niebyt. Modernistyczny black metal, prężnie rozwijany przez rodzime zespoły, tylko w niektórych kwestiach sięga do swoich korzeni. Za sprawą nowatorskiego podejścia do formy i treści kształtowany jest awangardowy gatunek muzyczny, stopniowo wchodzący do kultury popularnej.
EN
Black metal in the 21st century, especially In Poland is resurrecting. The 1990’s was a rough time for this musical genre due to its rebellious nature. Modern black metal, highly developed by polish bands, is highly different than its generic predecessor. What is observed is an innovative direction to black metal form and content which structures an avant-garde genre, aspiring to enter the popular culture.
8
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Inspiracja radykalna, czyli wątki tolkienowskie w twórczości Varga Vikernesa

71%
Podlewski A.
Creatio Fantastica
|
2017
|
issue 2(57)
105-114
EN
In the article Radical Inspiration, or Tolkienian Threads in the Works of Varg Vikernes, Adam Podlewski draws a comparison between John Ronald Reuel Tolkien’s and Varg Vikernes’ esthetical, theological, and civilisational world­view. In spite of obvious differences on many levels, the intellectual vision of the Norwegian musician seems to be heavily influenced by the author of The Hobbit Or There And Back Again—both by informed and unaware inspirations. It is argued that Vikernes’ views on Norwegian history particularly resemble the Tolkienian vision of so-called modern ‘mordorisation’. There is, however, one mayor difference between the referenced artists: that is the role that they grant to Christianity.
9
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Ciała dyscyplinowane czy podmioty transgresywne? Somatoestetyka fikcyjnych zespołów death- i blackmetalowych

67%
Sierzputowski K.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2018
|
issue 10(3) "Studia nad kulturą metalową"
34-46
PL
Spektakle koncertów zespołów metalowych są widowiskiem o dużym stopniu symbolicznej umowności, która paradoksalnie ma za zadanie wywoływać efekt nieustannej autentyczności wśród widzów i słuchaczy. Prezentowane utwory, a także cały entourage sceniczny i wizerunkowy zespołu stanowi o sile jego podmiotowości w polu lokalnej muzyki metalowej. Bardzo rzadko, a często także niechętnie, mówi się jednak o zakulisowej egzystencji grup metalowych oraz o procesach dyscyplinujących, którym muszą się poddawać, by wywołać określone i oczekiwane efekty wśród słuchaczy. Da się jednak zauważyć krytyczny namysł nad zjawiskiem zakulisowej dyscypliny w metatekstach muzycznych, takich jak komiksy i animacje poświęcone biografiom zespołów fikcyjnych. Teksty te transgresywnie unaoczniają problem masochistycznego spektaklu ciała i przemocowej, choć pozornej, autentyczności grup muzycznych. Przykładami takich tekstów są japońska animacja Detroit Metal City (2008) oraz komiksem Będziesz smażyć się w Piekle autorstwa Krzysztofa „Prosiaka” Owedyka (2016).
EN
The performances of metal music gropus kind be described as a spectacles of a high degree of symbolic convention, which is paradoxically intended to cause the effect of constant authenticity among spectators and listeners. However, it is diffucult to find any kind of material that shows behind-the-scenes existance of those gropus, we can find critical reflection on the phenomenon of behind-the-scenes discipline in meta-music texts, such as comics and animations devoted to the biographies of fictional music groups. These texts transgress the problem of the masochistic spectacle of the body fictional authenticity of the musical groups. Examples of such texts are the Japanese animation Detroit Metal City (2008) and the Polish comic Będziesz smażyć się w Piekle by Krzysztof “Prosiak” Owedyk (2016).
10
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‘Wildlife’ : ecstatic practices of hardcore football and music fans during Czech and Slovak post-socialism

60%
Daniel O.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2019
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vol. 106
|
issue 1
69-83
EN
This study aims to begin to fill the relative gap in research into ecstatic practices in subcultural scenes. To this end, it focuses on two more hardcore groups of football supporters (ultras and hooligans) and two extreme music scenes (black metal and crust punk). Its research methodology relies mainly on participant observation. It considers the ecstatic states of hardcore football supporters and extreme music fans with an emphasis on key contexts, practices and meanings. The study proposes to apply a model of Dionysiac ritual to interpret all these practices and discusses them in relation to the transgression of social norms and commodification in the context of late capitalism.
11
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„Magické noci počal čas“: new-age spiritualita a subkultury v čase změn

48%
Daniel O.
Studia Ethnologica Pragensia
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2017
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issue 1
96-106
EN
This scholarly article investigates different levels of appropriation of new-age spirituality in three subcultural contexts. The research focuses on the period of changes from state socialism to liberal democracy in Czechoslovakia. The three subcultural contexts in question are those of black metal scene around Prague-based band Törr, “underground” dissident subcultural formations and a peculiar personality of Vincent Venera and his hardcore-experimental musical band Saint Vincent. Three different strategies of using new-age spirituality are examined with the help of hypothesis of (sub)cultural transfer.
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