Název: Kontrakulturní tvorba Thursatrú : Black metal coby model tvorby náboženské identity v chaos-gnosticismu
Variantní název:
- Counter-cultural formation of Thursatrú : black metal as a model of identity formation in Chaos-gnosticism
Zdrojový dokument: Sacra. 2016, roč. 14, č. 2, s. 18-36
Rozsah
18-36
-
ISSN1214-5351 (print)2336-4483 (online)
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/138050
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
This article deals with an esoteric current Thursatrú. Thursatrú falls within a broader esoteric current Chaos-gnosticism, which is a synthesis of Gnosticism, various Left-Hand Path teachings and Satanism. Thursatrú transfers Chaosgnostic thought into Germanic Heathenism. The article pursues the formation of Thursatrú via its delimitation from the mainstream society, Satanism, Left- Hand Path and Ásatrú in expression of black metal musicians who constitute the foundation of Thursatrú. In connection with the Gnostic dualism, the practitioners strongly transgress the above mentioned notions, whereas they consider themselves being elevated above the society. Thursatrú practitioners adopt the black metal concept of identity formation based on transgression in order to embody themselves in plural and relativistic modern world. The article also puts Thursatrú into a broader context of the evolution of Left-Hand Path and black metal.
Reference
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[52] Vindkall, G. (2008). Interview in Funeral March Zine. Nalezeno [26.1.2016] na: http://domgard.trollkatt.com/index3.html.
[53] Ormgård (2012). //\ [kazeta]//. Scythe of Death Productions.
[54] Ormgård (2014). Ormblot [CD]. Forever Plagued Records.
[55] Son sof Fenris (2008). Wulmadûbon [kazeta]. Independent.
[56] Wod (2007). Rekwifrîhalsjaz [kazeta]. Scythe of Death Productions.
[57] Andersson, R. (2012). Of chaos and internal fire: The quest for nothingness by lyrical manifestations of re-interpreted Gnostic thought. Diplomová práce. Högskolan i Gävle, Gävle.
[58] Bogdan, H., Hjem T., Dyrendal, A., & Petersen, J. A. (2009). Nordic Satanism and Satanism Scares: The Dark Side of the Secular Welfare State. Social Compass, 56(4), 515–529. | DOI 10.1177/0037768609345972
[59] Dyrendal, A. (2008). Devilish Consumption: Popular Culture in Satanic Socialization. Numen, 55(1), 68–98. | DOI 10.1163/156852708X289009
[60] Frith, S. (2001). In S. Frith, W. Straw, J. & Street Pop Music: The Cambridge Companion to Rock and Pop (pp. 93–108). Cambridge: Cambridge University Press.
[61] Hjelm, T., Kahn-Harris, K., & Levine, M. (2011). Heavy Metal as Controversy and Counterculture. Popular Music History, 6(1), 5–18.
[62] Granholm, K. (2012). The Left-hand Path and Post-Satanism: The Temple of Set and the Evolution of Satanism. In P. Faxneld & J. A. Petersen (Eds. ), Devil's Party: Satanism in Modernity (pp. 209–228). Oxford: Oxford University Press.
[63] Granhlom, K. (2013). Ritual Black Metal: Popular Music as Occult Mediation and Practice. Correspondences: Online Journal for the Academic Study of Western Esotericism, 1(1), 5–33.
[64] Granholm, K. (2014). Dark Enlightenment: The Historical, Sociological, and Discursive Contexts of Contemporary Esoteric Magic. Leiden – Boston: Brill.
[65] Introvigne, M. (2016). Satanism: A Social History. Leiden – Boston: Brill.
[66] Kahn-Harris, K. (2006). Extreme Metal: Music and Culture on the Edge. Oxford: Berg Publishers.
[67] Kuppens, A. H. & van der Pol, F. (2014). 'True' Black Metal: The Construction of Authenticity by Dutch Black Metal Fans. Communications: The European Journal of Communication Research, 39 (2), 151–167. | DOI 10.1515/commun-2014-0010
[68] Lužný, D. (1999). Náboženství a moderní společnost: sociologické teorie modernizace a sekularizace. Brno: Masarykova univerzita.
[69] Masciandaro, N. (Ed.). (2010). Hideous Gnosis: Black Metal Theory Symposium 1. Charleston: Create Space.
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