The Construction of Heavy Metal Identity through Heritage Narratives: A Case Study of Extreme Metal Bands in the North of England

Extreme and black metal is a music genre infused with ideologies of elitism, nationalism and exaggerated masculinity. In this paper, we explore the ways in which four bands from the north of England – Winterfylleth, Wodensthrone, Old Corpse Road and Oakenshield – construct mythologies, heritage narratives and identity through their own reflections on their music, metal and myths. These extreme metal bands in the North of England work inside the symbolic boundaries of their scene and exist within the imagined communities of their region. That is, the bands construct mythologies based around masculinity and around elitism, but also about “northernness.

Mythological Intertextuality in “Harry Potter and The Cursed Child” Special Rehearsal Edition

This thesis focused on the mythological intertextuality in “Harry Potter and The Cursed Child” special rehearsal edition (2016). There are two objectives of the research in this thesis, they are (1) to find out the mythologies intertexted in the novel and (2) to see how those mythologies involved in the construction of the story to help building it up. This research used descriptive qualitative method since the main data’s source is from the texts of the novel by J.K Rowling. In collecting the data, the researcher relied on himself as the main instrument that collected them and then analysed them using the basic concept of the theory of intertextuality by Julia Kristeva combined with the common general definition of mythology forming mythological intertextuality. The result of the research revealed that there are 18 mythologies that inserted by the author into the novel which can be categorized: 4 objects, 5 characters, and 9 creatures. Those mythologies involved in the construction of the story, which are theme, characters, plot and setting. Most of the mythologies inserted by the author involved in the character element since it covers up the mythological figures and creatures. It can be seen that the author brought the mythologies combined with her creativity or another external elements in arranging the story because the mythologies do not dominated the element yet they have their participation in constructing it

Domestic Mythologies

Domestic Mythologies delves into certain object details inside the Ameri-can home: the curtain, buttons, napkins, piles, the kitchen sink, and screens. Each essay hopes to reveal the way each object encourages certain ideological tendencies, and at their worst, ideological abuses. By investigating historical and contemporary promotions by way of their use in spaces, the effort aims at measuring our present alienation inside the space that is ready to, ideologically, burst at the seams: home. In the style of Roland Barthes’ Mythologies, explores three aspects of each object. First, the ideological analysis on “the language of so-called mass culture” relating to contemporary home essentials. Second, an attempt to analyze their semiological mechanics as having a restricting influence on us. Third and lastly, their role in “home” as myth. Roland Barthes defines a myth as [stolen] language, or, as a type of speech, a system of communication, a message. Therefore myth is not an object, a concept, or an idea, it is a mode of signification, a form attached to a thing through our own substance of understanding. A domestic mythology follows this provided logic: “Thus every day and every-where, man is stopped by myths, referred by them to his motionless prototype which lives in his place, stifles him in the manner of a huge internal parasite and assigns to his activity the narrow limits within which he is allowed to suffer without upsetting the world.” Barthes, 155 After unraveling the details — I will conclude with an analysis of home as myth itself, home as collage, home as a reconciliation between reality and person; between things, their explanations and their clashing with our general know-how. The format will follow a bookmaking process of joining text essays with playful graphic design to emphasize the object’s relation and representation in space. The final product will be delivered to the office mailboxes of architectural board Ivonne Santoyo-Orozco, Ross Adams, and Olga Touloumi one week from today on May 11th 2022 and will be distributed throughout the Bard College campus’ public spaces. The publication is meant to act as a guerrilla house book, welcoming further mutation on how to think of home as containing arguably the most radical potential for great change

Transparency, incalculability, Mythologies today

What would it mean to speak of the ‘migration into the Anglophone world’ of Barthes’s Mythologies? There are many ways in which one could answer such a question. Does ‘theory’ still exist, is it now dead? To employ Michael Payne’s and John Schad’s title, what does it currently mean to live ‘after theory’ and what is the current status of the translation (from a series of European words) that gave us the word ‘theory’? Is Barthes now immured within that archive once known as belles lettres? or is there a need to return to what must be Barthes’s most widely consumed text (Mythologies) within the Anglophone world? What has been and will be the fate of semiology? Mythologies is indisputably a core influence on the rise of Cultural Studies in the ‘worlds’ to which we are referring. Thinking about Mythologies today inevitably leads us to consider the status and function of Cultural Studie

Falling mythologies

This thesis follows the exploration of the subject of falling within the context of mythology. This mythology is both a personal journey through the process of creating figurative paintings and one that explores archetypes from our cultural past. It links this journey through the process of painting to other artists who have explored their own subjective themes in their work and built relationships between representational work and abstraction. As these paintings have developed I have been driven by the desire to capture the transient nature of flesh and beauty. This seeking to preserve the fragments of movement and sentient being has lead to me to the media of painting and the topic of falling. Falling can imply a moral state or a sense of mortality. In Abrahamic religions the fallen are the damned. To be one of the fallen implies that the soul will not be elevated into heaven. Suddenly these birds can be dropping souls and the atmosphere around them becomes mythic and otherworldly. Mythologies rise and fall and yet their archetypes remain. Within this thesis I explore the inclusion of archetypal symbolism in the paintings I create in order to make a reference to the context of the fall. This thesis also follows how tragedy shaped the depth of my painting. Each work contains the ramifications of death and how it pushed me further into the reasons behind the paintings. In summary, this thesis explores the concrete aspects of paint in order to catch images of fallen, falling, and crashing birds. The paintings explore space, value, compositional line, and the amount of information necessary in order to create the sense of the individual bird. The paintings explore various contexts for the birds, such as the inclusion of the figure or aspects of the figure, metaphorical and mythological catalysts, and elements of landscape

African Art: What and to Whom? Anxieties, Certainties, Mythologies

It has taken nearly a whole century to publish two books on African art that recognize the continent as a complex cultural unit within which there is diversity, A History of Art in Africa (Blackmun Visona, M et al, 2001) and Africa, The Art of a Continent (Phillips, T. 1995). Why it taken so long far North and East Africa past and present to be included in texts labeled African art? Why were they not recognized as African? India, also a place of diversity of race and ethnicity, has not similarly treated. The assumptions underlying the norms a representation of Africa were deeply rooted, their influence scholarship related to African art and culture was profound and, even if attenuated at present, persistent. They have impacted on the organization of information related to Africa, influencing from cataloging, the content of texts and videos, to museum layout exhibitions. Only by becoming conscious of the pervasive power of this hidden curriculum can we take steps to counter its influence. Those underlying assumptions are symptomatic of European fear5aJlII desires related to African identity