Details
Heavy Metal Music in Latin America
Perspectives from the Distorted South|
42,99 € |
|
| Verlag: | Lexington Books |
| Format: | EPUB |
| Veröffentl.: | 30.12.2020 |
| ISBN/EAN: | 9781793607522 |
| Sprache: | englisch |
| Anzahl Seiten: | 360 |
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Beschreibungen
<p><span>In </span><span>Heavy Metal Music in Latin America: Perspectives from the Distorted South</span><span>, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors’ southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.</span></p>
<p><span>This book brings together researchers from twelve countries in Latin America to reflect on the social dimensions of metal music in Latin America. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music.</span></p>
<p><span>SECTION I: UNDERSTANDING METAL MUSIC IN LATIN AMERICA 5</span></p>
<p><span>Chapter 1 </span><span>Conceptualizing the Distorted South: How to Understand Metal Music and Its Scholarship in Latin America</span></p>
<p><span>Nelson Varas-Díaz, Daniel Nevárez Araújo, and Eliut Rivera-Segarra</span></p>
<p><span>SECTION II: A SOUNDTRACK FOR A VIOLENT CONTEXT 37</span></p>
<p><span>Chapter 2 </span><span>Decomposición Cerebral</span><span>: The Salvadoran Civil War and the Birth of Salvadoran Brutal Death Metal</span></p>
<p><span>Christian M. Pack</span></p>
<p><span>Chapter 3 </span><span>Dictatorship and Metal in Chile: A Causal Relationship?</span></p>
<p><span>Maximiliano Sánchez Mondaca</span></p>
<p><span>Chapter 4 </span><span>The Role of Death Metal in the Colombian Armed Conflict: The Case of the Band </span><span>Masacre</span></p>
<p><span>Pedro Manuel Lagos Chacón</span></p>
<p><span>Chapter 5 </span><span>Sounds of Exclusion and Seclusion: Peruvian Metal as a Model for Cultural Self-Segregation</span></p>
<p><span>José Ignacio López Ramírez Gastón</span></p>
<p><span>SECTION III: DECOLONIZING LOCAL HISTORIES THROUGH MUSIC 131</span></p>
<p><span>Chapter 6 </span><span>The Metal Scene in Havana, Cuba: An Assessment of Its Cultural Development from 2007 to 2017</span></p>
<p><span>Miriela Fernández Lozano</span></p>
<p><span>Chapter 7 </span><span>In the Shadow of the Dictatorship: A Historical Approach to Uruguayan Heavy Metal</span></p>
<p><span>María Ximena Rodríguez Molinari</span></p>
<p><span>Chapter 8 </span><span>Metal and Politics in Argentina: A Study into the Audienceship Surrounding Ricardo Iorio</span></p>
<p><span>Manuela Belén Calvo</span></p>
<p><span>Chapter 9 </span><span>America, Avenge Yourself: The Emergence of Combative Discourse and Other Recent Directions in Contemporary Argentinian Metal (An Exploration in Three Movements)</span></p>
<p><span>Emiliano Scaricaciottoli</span></p>
<p><span>SECTION IV: MARGINALITY AND CULTURES OF RESISTANCE 217</span></p>
<p><span>Chapter 10 </span><span>The Transfiguration of the Deity Maximón as a Practice of Resistance in Metal from San Pedro Sacatepéquez, San Marcos, Guatemala</span></p>
<p><span>Mario Efraín Castañeda Maldonado</span></p>
<p><span>Chapter 11 </span><span>La Periferia</span><span>: Marginal Contexts for Metal Music in the State of México</span></p>
<p><span>Alfredo Nieves Molina</span></p>
<p><span>Chapter 12 </span><span>Differences in the Sociopolitical Perspectives of Brazilian and European </span><span>Völkisch </span><span>Metal</span></p>
<p><span>Guilherme Alfradique Klausner</span></p>
<p><span>SECTION V: LIBERATION THROUGH METAL MUSIC 285</span></p>
<p><span>Chapter 13 </span><span>“A Scream that Makes Us Visible”: Latin American Heavy Metal Music and Liberation Psychology</span></p>
<p><span>Eliut Rivera-Segarra, Jeffrey W. Ramos, and Nelson Varas-Díaz</span></p>
<p><span>Chapter 14 </span><span>Metal Migration: The Latin American Diasporic Experience in Heavy Metal</span></p>
<p><span>Daniel Nevárez Araújo</span></p>
<p></p>
<p><span>Chapter 1 </span><span>Conceptualizing the Distorted South: How to Understand Metal Music and Its Scholarship in Latin America</span></p>
<p><span>Nelson Varas-Díaz, Daniel Nevárez Araújo, and Eliut Rivera-Segarra</span></p>
<p><span>SECTION II: A SOUNDTRACK FOR A VIOLENT CONTEXT 37</span></p>
<p><span>Chapter 2 </span><span>Decomposición Cerebral</span><span>: The Salvadoran Civil War and the Birth of Salvadoran Brutal Death Metal</span></p>
<p><span>Christian M. Pack</span></p>
<p><span>Chapter 3 </span><span>Dictatorship and Metal in Chile: A Causal Relationship?</span></p>
<p><span>Maximiliano Sánchez Mondaca</span></p>
<p><span>Chapter 4 </span><span>The Role of Death Metal in the Colombian Armed Conflict: The Case of the Band </span><span>Masacre</span></p>
<p><span>Pedro Manuel Lagos Chacón</span></p>
<p><span>Chapter 5 </span><span>Sounds of Exclusion and Seclusion: Peruvian Metal as a Model for Cultural Self-Segregation</span></p>
<p><span>José Ignacio López Ramírez Gastón</span></p>
<p><span>SECTION III: DECOLONIZING LOCAL HISTORIES THROUGH MUSIC 131</span></p>
<p><span>Chapter 6 </span><span>The Metal Scene in Havana, Cuba: An Assessment of Its Cultural Development from 2007 to 2017</span></p>
<p><span>Miriela Fernández Lozano</span></p>
<p><span>Chapter 7 </span><span>In the Shadow of the Dictatorship: A Historical Approach to Uruguayan Heavy Metal</span></p>
<p><span>María Ximena Rodríguez Molinari</span></p>
<p><span>Chapter 8 </span><span>Metal and Politics in Argentina: A Study into the Audienceship Surrounding Ricardo Iorio</span></p>
<p><span>Manuela Belén Calvo</span></p>
<p><span>Chapter 9 </span><span>America, Avenge Yourself: The Emergence of Combative Discourse and Other Recent Directions in Contemporary Argentinian Metal (An Exploration in Three Movements)</span></p>
<p><span>Emiliano Scaricaciottoli</span></p>
<p><span>SECTION IV: MARGINALITY AND CULTURES OF RESISTANCE 217</span></p>
<p><span>Chapter 10 </span><span>The Transfiguration of the Deity Maximón as a Practice of Resistance in Metal from San Pedro Sacatepéquez, San Marcos, Guatemala</span></p>
<p><span>Mario Efraín Castañeda Maldonado</span></p>
<p><span>Chapter 11 </span><span>La Periferia</span><span>: Marginal Contexts for Metal Music in the State of México</span></p>
<p><span>Alfredo Nieves Molina</span></p>
<p><span>Chapter 12 </span><span>Differences in the Sociopolitical Perspectives of Brazilian and European </span><span>Völkisch </span><span>Metal</span></p>
<p><span>Guilherme Alfradique Klausner</span></p>
<p><span>SECTION V: LIBERATION THROUGH METAL MUSIC 285</span></p>
<p><span>Chapter 13 </span><span>“A Scream that Makes Us Visible”: Latin American Heavy Metal Music and Liberation Psychology</span></p>
<p><span>Eliut Rivera-Segarra, Jeffrey W. Ramos, and Nelson Varas-Díaz</span></p>
<p><span>Chapter 14 </span><span>Metal Migration: The Latin American Diasporic Experience in Heavy Metal</span></p>
<p><span>Daniel Nevárez Araújo</span></p>
<p></p>
<p><span>Nelson Varas-Díaz </span><span>is professor of social-community psychology in the Department of Global and Sociocultural Studies at Florida International University.</span></p>
<p><span>Daniel Nevárez Araújo</span><span> received his PhD from the University of Massachusetts-Amherst.</span></p>
<p><span>Eliut Rivera Segarra </span><span>is</span><span> </span><span>clinical psychologist and assistant professor at the Ponce Health Sciences University in Puerto Rico. </span></p>
<p><span>Daniel Nevárez Araújo</span><span> received his PhD from the University of Massachusetts-Amherst.</span></p>
<p><span>Eliut Rivera Segarra </span><span>is</span><span> </span><span>clinical psychologist and assistant professor at the Ponce Health Sciences University in Puerto Rico. </span></p>
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