|
|
Extreme Metal from Inside and Outside: What Is Being Masked?
Lazar, Jan ; Chrz, Vladimír (advisor) ; Onder, Jakub (referee)
The aim of this diploma thesis is to assess the experience of extreme metal musicians. Using a qualitative approach, 23 texts on the topic of "Why I like metal" were analysed. These reference texts were written by death, black, and thrash metal musicians. Additionaly, an interview and artifacts analysis was conducted. Based on the qualitative approach, 12 categories representing the experience of metal musicians were formulated. However, this view did not correspond with the general notion of extreme metal. Two views, one "from the inside" and another "from the outside" of the metal community, were thus formed. Based on the growing dissonance of these two views, the theoretical concept of hermeneutice of suspicion was applied. Based on this interpretative stratégy, four areas have been identified, in which metal musicians mask metal aggresion, primitiveness, incomprehension and inaccessibility. KEYWORDS Metal music, experience of musicians, analysis of texts, analysis of interview and artefacts, hermeneutics of suspicion,
|
|
|
Written Voice: Whitman's Leaves of Grass (1855) and Miller's Tropic of Cancer
Skovajsa, Ondřej ; Vojvodík, Josef (advisor) ; Bílek, Petr (referee) ; Pokorný, Martin (referee)
The PhD. dissertation Written Voice examines how Walt Whitman and Henry Miller through books, confined textual products of modernity, strive to awaken the reader to a more perceptive and courageous life, provided that the reader is willing to suspend hermeneutics of suspicion and approach Leaves of Grass and Tropic of Cancer with hermeneutics of hunger. This is examined from linguistic, anthropological and theological vantage point of oral theory (M. Jousse, M. Parry, A. Lord, W. Ong, E. Havelock, J. Assmann, D. Abram, C. Geertz, T. Pettitt, J. Nohrnberg, D. Sölle, etc.). This work thus compares Leaves (1855) and Tropic of Cancer examining their paratextual, stylistic features, their genesis, the phenomenology of their I's, their ethos and story across the compositions. By "voluntary" usage of means of oral mnemonics such as parallelism/bilateralism (Jousse) - along with present tense, imitatio Christi and pedagogical usage of obscenity - both authors in their compositions attack the textual modern discourse, the posteriority, nostalgia and confinement of literature, restore the body, and aim for futurality of biblical kinetics. It is the reader's task, then, to hermeneutically resurrect the dead printed words of the compositions into their own "flesh" and action. The third part of the thesis...
|
guest ::
