DOCSLIB.ORG

The Alt-Right's Metaphoric Construction of Black, Muslim

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Alt-Right's Metaphoric Construction of Black, Muslim Among Us, Around Us, Against Us: The Alt-Right’s Metaphoric Construction of Black, Muslim, Jewish, and Transgender Others as Monstrous in Anonymous Fora Katharina J. Nordbø Master’s Thesis in English Linguistics Department of Foreign Languages University of Bergen, June 2021 Sammendrag Denne masteroppgaven tar for seg hvordan brukere av alt-right (ofte oversatt som ‘alternativhøyre’) nettfora bruker elementer av det monstrøse i beskrivelser av ulike grupper mennesker. Nærmere bestemt, ser jeg i denne oppgaven på hvordan Mørkhudede (‘Black’), Muslimske, Jødiske, og transkjønnede personer fremstilles som monstre, både gjennom direkte metaforer og gjennom å bli tilskrevet trekk som kjennetegner det monstrøse. Alt-right er et relativt nytt fenomen som oppstod mellom ca 2014 og 2016, og kjennetegnes bl.a. av rasisme, antisemitisme, hvit overmakt, og patriarkalske holdninger, samt av å være et hovedsakelig digitalt fenomen. Tidligere forskning på høyreekstreme og fremmedfientlige diskurser har funnet at ulike grupper (f.eks. homofile og folk med andre hudfarger eller kulturelle tilhørigheter) konstrueres som en truende Andre; blant annet brukes monstermetaforer for å skape et narrativ om at den Andre utgjør en trussel som man må forsvare seg mot. Å studere metaforer som konstruerer mennesker som den monstrøse Andre, kan hjelpe oss å forstå mer om strømninger i samfunnet, siden diskurser om monstre gjenspeiler samfunnets frykter og usikkerheter. Samtidig kan monstermetaforer bevisst brukes for å skape og opprettholde en maktubalanse. Lakoff og Johnsons kognitive metaforteori hevder at vi forstår mye av livene våre gjennom metaforer. Abstrakte og/eller fremmede ting forstås og struktureres gjennom å bruke mer konkrete konsepter, og konseptene vi bruker som kilder i denne sammenheng, vil påvirke ikke bare hvordan vi tenker og snakker om ting, men også hvordan vi handler. Dermed kan språklige og kognitive monstermetaforer motivere fysiske handlinger mot ‘monstrene.’ I denne oppgaven analyserer jeg språkdata fra tre nettfora med tilknytning til the alt-right, og kategoriserer beskrivelser av Mørkhudede, Muslimske, Jødiske, og transkjønnede personer ut ifra direkte monstermetaforer samt elementer av det monstrøse. Analysen viser at alle fire grupper beskrives som monstrøse, og at det er betydelige forskjeller i hva slags type monstre de omtales som, og hva slags monstrøse egenskaper eller trekk de tilskrives. I tillegg er det variasjoner mellom de tre foraene jeg ser på, både i forhold til hvilke grupper som omtales oftest, samt hvilke monstrøse trekk hver gruppe tilskrives. Acknowledgments I would like to express my gratitude to my thesis supervisor, Bente Hannisdal, for valuable input, feedback, and patience throughout the entire writing process, and to John-Wilhelm Flattun, for providing me with valuable input and resources, as well as pointing me to others who could help me with figuring out my practical approach to data gathering. I also wish to thank my friend Audun for writing the web scraper script for this thesis from scratch and helping out with formatting issues, and my wife Johanna for infinite kindness and support. Table of Contents 1. INTRODUCTION ...................................................................................................................... 1 1.1 Aim and Scope ....................................................................................................................... 1 1.2 Research Questions ................................................................................................................ 2 1.3 Structure ................................................................................................................................. 2 1.4 A note on terminology and language ..................................................................................... 2 2. THEORY ..................................................................................................................................... 3 2.1 Chapter outline ....................................................................................................................... 3 2.2 Discourse Analysis ................................................................................................................. 3 2.3 Cognitive Linguistics ............................................................................................................. 4 2.3.1 Embodiment and Grounding .......................................................................................... 5 2.3.2 Categorisation .................................................................................................................. 5 2.3.1 Cognitive Theory of Metaphor ........................................................................................ 5 2.4 The alt-right .......................................................................................................................... 10 2.4.1 Features of the alt-right ................................................................................................. 11 2.4.2 Looking back and looking forward ............................................................................... 12 2.5 Forum discourse ................................................................................................................... 13 2.5.1 Previous research on far-right discourse and Othering on online fora .......................... 15 2.6 Monstrous Others ................................................................................................................. 18 2.6.1 The Other ....................................................................................................................... 18 2.6.2 Monstrous Traits ........................................................................................................... 19 2.6.2.1 Monsters as cultural signs or symbols........................................................................ 20 2.6.2.2 Monsters as tools for policing the Self ....................................................................... 22 2.6.2.3 Monsters as justifications of violence against the Other ............................................ 22 2.6.3 History’s monsters ......................................................................................................... 23 2.7 Research gaps ....................................................................................................................... 26 3. METHODOLOGY ................................................................................................................... 29 3.1 Chapter Outline .................................................................................................................... 29 3.2 Data collection ...................................................................................................................... 29 3.2.1 The Sources ................................................................................................................... 29 3.2.2 Methods of collection .................................................................................................... 31 3.2.3 Timeframe and volume of data ..................................................................................... 33 3.2.4 Challenges to data collection ......................................................................................... 33 3.3 Qualitative Analysis ............................................................................................................. 34 3.3.1 Identifying Metaphors ................................................................................................... 35 3.3.2 Challenges with metaphor identification ....................................................................... 36 3.3.3 The Analytical Categories ............................................................................................. 36 3.4 Quantitative Analysis ........................................................................................................... 40 3.5 Research Ethics .................................................................................................................... 41 4. RESULTS AND DISCUSSION............................................................................................... 42 4.1 The Black Other ................................................................................................................... 43 4.1.1 Quantitative Findings .................................................................................................... 43 4.1.2 GENERIC MONSTER Metaphors ...................................................................................... 46 4.1.3 MYTHICAL MONSTER Metaphors ................................................................................... 47 4.1.4 BIBLICAL MONSTER Metaphors ..................................................................................... 47 4.1.5 BESTIAL Metaphors ....................................................................................................... 48 4.1.6 ABJECT Traits ................................................................................................................ 50 4.1.7 DISEASE AND PARASITISM Metaphors ........................................................................... 51 4.1.8 LARGE NUMBERS ........................................................................................................... 52 4.1.9 SEXUAL THREATS .........................................................................................................
Load more

Recommended publications
  • HOW BLACK IS BLACK METAL [JOURNALISMUS] Nachrichten Von Heute
    HOW BLACK IS BLACK METAL [JOURNALISMUS] nachrichten von heute Kevin Coogan - Lords of Chaos (LOC), a recent book-length examination of the “Satanic” black metal music scene, is less concerned with sound than fury. Authors Michael Moynihan and Didrik Sederlind zero in on Norway, where a tiny clique of black metal musicians torched some churches in 1992. The church burners’ own place of worship was a small Oslo record store called Helvete (Hell). Helvete was run by the godfather of Norwegian black metal, 0ystein Aarseth (“Euronymous”, or “Prince of Death”), who first brought black metal to Norway with his group Mayhem and his Deathlike Silence record label. One early member of the movement, “Frost” from the band Satyricon, recalled his first visit to Helvete: I felt like this was the place I had always dreamed about being in. It was a kick in the back. The black painted walls, the bizarre fitted out with inverted crosses, weapons, candelabra etc. And then just the downright evil atmosphere...it was just perfect. Frost was also impressed at how talented Euronymous was in “bringing forth the evil in people – and bringing the right people together” and then dominating them. “With a scene ruled by the firm hand of Euronymous,” Frost reminisced, “one could not avoid a certain herd-mentality. There were strict codes for what was accept- ed.” Euronymous may have honed his dictatorial skills while a member of Red Ungdom (Red Youth), the youth wing of the Marxist/Leninist Communist Workers Party, a Stalinist/Maoist outfit that idolized Pol Pot. All who wanted to be part of black metal’s inner core “had to please the leader in one way or the other.” Yet to Frost, Euronymous’s control over the scene was precisely “what made it so special and obscure, creating a center of dark, evil energies and inspiration.” Lords of Chaos, however, is far less interested in Euronymous than in the man who killed him, Varg Vikemes from the one-man group Burzum.
    [Show full text]
  • Identitarian Movement
    Identitarian movement The identitarian movement (otherwise known as Identitarianism) is a European and North American[2][3][4][5] white nationalist[5][6][7] movement originating in France. The identitarians began as a youth movement deriving from the French Nouvelle Droite (New Right) Génération Identitaire and the anti-Zionist and National Bolshevik Unité Radicale. Although initially the youth wing of the anti- immigration and nativist Bloc Identitaire, it has taken on its own identity and is largely classified as a separate entity altogether.[8] The movement is a part of the counter-jihad movement,[9] with many in it believing in the white genocide conspiracy theory.[10][11] It also supports the concept of a "Europe of 100 flags".[12] The movement has also been described as being a part of the global alt-right.[13][14][15] Lambda, the symbol of the Identitarian movement; intended to commemorate the Battle of Thermopylae[1] Contents Geography In Europe In North America Links to violence and neo-Nazism References Further reading External links Geography In Europe The main Identitarian youth movement is Génération identitaire in France, a youth wing of the Bloc identitaire party. In Sweden, identitarianism has been promoted by a now inactive organisation Nordiska förbundet which initiated the online encyclopedia Metapedia.[16] It then mobilised a number of "independent activist groups" similar to their French counterparts, among them Reaktion Östergötland and Identitet Väst, who performed a number of political actions, marked by a certain
    [Show full text]
  • Darkthrone Is Absolutely Not a Political Band and We Never Were
    THE ‘FAILURE’ OF YOUTH CULTURE: REFLEXIVITY, MUSIC AND POLITICS IN THE BLACK METAL SCENE Dr Keith Kahn-Harris, Independent social researcher 57 Goring Road London N11 2BT Tel: 0208 881 5742 E-mail: [email protected] Dr Keith Kahn-Harris (né Harris) received his PhD on the sociology of the global Extreme Metal music scene from Goldsmiths College in 2001. Since then he has been a fellow at the Mandel School for Advanced Jewish Educational Leadership, Jerusalem and a visiting fellow at the Monash University Centre for Jewish Civilization, Melbourne. He is currently working on a variety of projects as an independent social researcher in the British Jewish community. THE ‘FAILURE’ OF YOUTH CULTURE: REFLEXIVITY, MUSIC AND POLITICS IN THE BLACK METAL SCENE Abstract: This paper examines an enduring question raised by subcultural studies – how youth culture can be challenging and transgressive yet ‘fail’ to produce wider social change. This question is addressed through the case study of the Black Metal music scene. The Black Metal scene flirts with violent racism yet has resisted embracing outright fascism. The paper argues that this is due to the way in which music is ‘reflexively anti-reflexively’ constructed as a depoliticising category. It is argued that an investigation of such forms of reflexivity might explain the enduring ‘failure’ of youth cultures to change more than their immediate surroundings. Keywords: Subculture, reflexivity, politics, Black Metal, racism, youth culture, scenes. 1 Introduction: Subcultural theory and the ‘failure’ of youth culture It is hardly necessary to point out that cultural studies, and in particular the study of youth culture, owes a massive debt to subcultural theory, as developed by members of and those allied to the Birmingham Centre for Contemporary Cultural Studies in the 1970s (e.g.
    [Show full text]
  • Career Break Or a New Career? Extremist Foreign Fighters in Ukraine
    Career Break or a New Career? Extremist Foreign Fighters in Ukraine By Kacper Rekawek (@KacperRekawek) April 2020 Counter Extremism Project (CEP) Germany www.counterextremism.com I @FightExtremism CONTENTS: ABOUT CEP/ABOUT THE AUTHOR 2 EXECUTIVE SUMMARY 3 INTRODUCTION 5 SECTION I INTRODUCING FOREIGN FIGHTERS IN THE WAR IN UKRAINE 7 THE XRW FOREIGN FIGHTER: A WORLDVIEW 9 TALKING TO FOREIGN FIGHTERS: THEIR WORDS AND SYMBOLS 11 THE “UNHAPPY” FOREING FIGHTERS 13 CIVIL WAR? 15 SECTION II WHY THEY FIGHT 17 A CAREER BREAK OR NEW CAREER? 18 FOREIGN FIGHTERS WAR LOGISTICS 22 SECTION III FOREIGN FIGHTERS AS A THREAT? 25 TENTATIVE CONCLUSION: NEITHER A UKRAINIAN 29 NOR A WESTERN PROBLEM? ENDNOTES 31 Counter Extremism Project (CEP) 1 counterextremism.com About CEP The Counter Extremism Project (CEP) is a not-for-profit, non-partisan, international policy organization formed to combat the growing threat from extremist ideologies. Led by a renowned group of former world leaders and diplomats it combats extremism by pressuring financial and material support networks; countering the narrative of extremists and their online recruitment; and advocating for smart laws, policies, and regulations. About the author Kacper Rekawek, PhD is an affiliated researcher at CEP and a GLOBSEC associate fellow. Between 2016 and 2019 he led the latter’s national security program. Previously, he worked at the Polish Institute of International Affairs (PISM) and University of Social Sciences in Warsaw, Poland. He held Paul Wilkinson Memorial Fellowship at the Handa Centre
    [Show full text]
  • Hipster Black Metal?
    Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists.
    [Show full text]
  • Unpopular Culture and Explore Its Critical Possibilities and Ramifications from a Large Variety of Perspectives
    15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm 15 mm TELEVISUAL CULTURE TELEVISUAL CULTURE This collection includes eighteen essays that introduce the concept of Lüthe and Pöhlmann (eds) unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey, from Christian rock and country to clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies. Martin Lüthe is an associate professor in North American Cultural Studies at the John F. Kennedy-Institute at Freie Universität Berlin. Unpopular Culture Sascha Pöhlmann is an associate professor in American Literary History at Ludwig-Maximilians-Universität Munich. 240 mm Martin Lüthe and Sascha Pöhlmann (eds) Unpopular Culture ISBN: 978-90-8964-966-9 AUP.nl 9 789089 649669 15 mm Unpopular Culture Televisual Culture The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture.
    [Show full text]
  • Popular Music and Violence This Page Has Been Left Blank Intentionally Dark Side of the Tune: Popular Music and Violence
    DARK SIDE OF THE TUNE: POPULAR MUSIC AND VIOLENCE This page has been left blank intentionally Dark Side of the Tune: Popular Music and Violence BRUCE JOHNSON University of Turku, Finland Macquarie University, Australia University of Glasgow, UK MARTIN CLOONAN University of Glasgow, UK © Bruce Johnson and Martin Cloonan 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Bruce Johnson and Martin Cloonan have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington, VT 05401-4405 Surrey GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data Johnson, Bruce, 1943– Dark side of the tune : popular music and violence. – (Ashgate popular and folk music series) 1. Music and violence 2. Popular music – Social aspects I. Title II. Cloonan, Martin 781.6'4 Library of Congress Cataloging-in-Publication Data Johnson, Bruce, 1943– Dark side of the tune : popular music and violence / Bruce Johnson and Martin Cloonan. p. cm.—(Ashgate popular and folk music series) Includes bibliographical references. ISBN 978-0-7546-5872-6 (alk. paper) 1. Music and violence. 2. Popular music—Social aspects. I. Cloonan, Martin. II. Title.
    [Show full text]
  • 6.2. Black Metal: History, Trace of Character and Archetype 215
    6.2. Black Metal: history, trace of character and archetype 215 6.2. Black Metal: history, trace of character and archetype José Filipe P. M. Silva 2 Abstract In this communication it is intended to realize an historical analysis on the nature of “Black metal”, considered as the most extreme subgenre and subculture of heavy metal music, and, simultaneously, to discuss its philosophical and psychoanalytical interpretations, namely through the concepts of “emotion”, “trace of character” and “archetype”. I will demonstrate that this musical style constitutes a perfect example of the psychological semi-primeval mental figure of the “Horrible Father”, a mitigation and degeneration of the symbolic fertility of the “Great Mother” (which is represented among every culture since pre-historical times). For such, the study will be framed in four fundamental authors (Erich Neumann, Malcolm Budd, Sigmund Freud and Carl Gustav Jung), orientated by three thematic moments (nature and significance of the “Great Mother” and the “Horrible Father”; Black metal anti-Christian founding ideology and the actions perpetuated in the name of the “scene”; philosophical perspectives on beauty and psychoanalytical interpretations) and having as plumb-line the major nihilistic and anti-Christian statements of the late nineteenth century philosopher Friedrich Nietzsche, which are usually quoted ad hoc in black metal songs. Keywords: archetype, beauty, black metal, horrible father, trace of character. Roots of darkness Black metal is probably the most extreme and controversial subgenre and subculture of the musical universe. Ever since its beginning in the early 1980s with bands such as Venom, Mercyful Fate, Bathory, Hellhammer or Celtic Frost – and especially after its rebirth in the early nineties, with the Scandinavians Mayhem, Burzum, Darkthrone, Immortal, Gorgoroth, Marduk or Dark Funeral – Black Metal has proven itself to be the most consistently though- provoking, aggressive, depressive, misanthropic, obscure and essentially misunderstood of all the many offshoots of heavy metal.
    [Show full text]
  • WRITE-IN Summary Report (All Candidates)
    WRITE-IN Summary Report (All Candidates) NC COMMISIONER OF LABOR BENJAMIN MILLER 1 BENJAMIN WITHROW 1 [BLANK] 141 BERNIE SANDERS 4 A J RAULYNAITIS JR 1 BERRY 1 AARON CARTER 1 BETH ROBERTSON 1 ABSTAIN 1 BIANCA ZUNIGA 1 ADAM L WOOD 1 BILL CYPHER 1 ADAM LEVINE 1 BILL HICKEY 1 ADAM M SMITH 1 BILL HOUSER 1 ADAM SU KIM 1 BONNIE "PRINCE" BILLY 1 ADRIAN WILKINS 1 BOY GEORGE 1 AIRELIO CASKAUS 1 BRADLY LEWIS 1 A-J DOG 1 BRANDAN THOMPSON 1 AKOM LOYD CHANDRASUON 1 BRANDON TUNG 1 AL DROHAN 1 BRIAN AKER 1 ALBERT R HUX JR 1 BRIAN IRVING 1 ALECIA L HOLLOMAN 1 BRIAN K WILLIS 1 ALLEN ROBERTSON 1 BRIAN WAYNE 8 AMANDA DAVIS 1 BRIAN YANDLE 1 AMANDA PAIGE 1 BRITNEY YOUNG 1 AMANDA RAY 1 BRUCE HORNE 1 ANDREA APPLE 1 BRUCE STOKES 1 ANDREA JOHN RANDYAITIS JR 1 BRYAN BAKER 1 ANDREW HOUSEKNECHT 1 BUGS BUNNY 1 ANDREW JAMES PHELPS 1 BUSTER EVANS 1 ANDREW PHELPS 1 CAEDON P HIRREL 1 ANDREW T PHELPS 1 CALVIN BERG 1 ANDREW THOMAS PHELPS 1 CAM NEWTON 2 ANDREW THOMAS WELLS 1 CANDLER THORNTON 1 ANDY DALTON 1 CARL PAUL ROHS 1 ANDY SEDDON 1 CHAD DOWNEY 1 ANSON ELLSTROM 1 CHAD FAISON 1 ANTHONY A BACK 1 CHARLES MEEKER 22 ANTHONY BIKOWSKI 1 CHARLIE TWITTY 1 ANTOINE JONES 1 CHERIE BERRY 5 ANYONE 1 CHIP MILLER 1 ANYONE ELSE 1 CHRIS HARRIS 1 AUSTIN AKER 1 CHRIS MUNIER 1 AVERY ASHLEY 1 CHRIS POST 1 BARBARA EWANISZYK 1 CHRIS SNYDER 1 BARBARA HOWE 1 CHRISOPHER RYAN DAVIS 1 BARNARY ALRIRE 1 CHRISTINA LOPER 1 BARRY MORGAN 1 CHRISTOPHER SIMPSON 1 BARRY RYAN BRADSHAW 1 CHRISTOPHER SWANISER 1 BEN CARSON 1 CHUCK NORRIS 1 BEN MARTIN JR 1 CHUCK REED 1 WRITE-IN Summary Report (All Candidates)
    [Show full text]
  • Gender, Race & the Aesthetics of Aggressive Heavy Metal Subcultures
    Georgia State University ScholarWorks @ Georgia State University History Theses Department of History Spring 4-13-2012 Rockin' The Tritone: Gender, Race & The Aesthetics of Aggressive Heavy Metal Subcultures Kirk W. Mishrell Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Recommended Citation Mishrell, Kirk W., "Rockin' The Tritone: Gender, Race & The Aesthetics of Aggressive Heavy Metal Subcultures." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/history_theses/52 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. ROCKIN’ THE TRITONE: GENDER, RACE & THE AESTHETICS OF AGGRESSIVE HEAVY METAL SUBCULTURES by KIRK MISHRELL Under the Direction of John McMillian ABSTRACT This paper explores the dynamics of two regional heavy metal styles. It focuses on the aesthetics of Florida death metal and Norwegian black metal. This paper seeks to contribute but also devi- ate from the great studies linking music with cultural studies. Heavy metal has gained interna- tional attention from many social leaders concerned with the direction of its listeners. Heavy metal, from its early foundation, has been used to rebel against social order. As the music evolves, it becomes dangerous to the social establishment; challenging ideologies such as reli- gion, globalization, feminism and common decency. This paper seeks to tell the story of the bat- tle between hegemony and the subversive subculture of intense metal, giving voice to some truly disturbed individuals dissatisfied with the existing social institution.
    [Show full text]
  • A World Full of Heathens
    A World Full of Heathens Towards Understanding Perceptions of History, Society, and the Self Amongst Contemporary Germanic Pagans By Joshua M. Cragle 1 | P a g e A World Full of Heathens Towards Understanding Perceptions of History, Society, and the Self Amongst Contemporary Germanic Pagans Joshua M. Cragle - 10861742 [email protected] Master Social and Cultural Anthropology Graduate School of Social Sciences University of Amsterdam Academic year 2014-1015 MA Thesis Word Count: 29,722 Supervisor Dr. Peter van Rooden Readers Dr. Oskar Verkaaik Dr. Anne de Jong 2 | P a g e Plagiarism Declaration I declare that this thesis meets the rules and regulation for fraud and plagiarism as set by the University of Amsterdam Joshua M. Cragle, June 1st, 2015 3 | P a g e Dedication I dedicate this thesis to those Heathens that showed me the virtue of hospitality, by allowing me to attend their rituals, patiently answering my questions, participating in my survey, and having the courage to share intimate stories of their lives and thoughts with me. It was an honor to get to know so many fascinating, kind, and intelligent individuals from the Heathen community around the world. I would also like to send a special thank you to my family, my friends Brian, Sean, and Jon for their consistent encouragement and support, and Dr. Kyle Wilkison, who has been a consistent teacher and mentor throughout the years. Last but not least, I would like to dedicate this thesis to my loving wife Mary, without whose support and patience this endeavor would not have been possible.
    [Show full text]
  • Culture Warlords, Such As It Is, Be Part Revenge, Part Explainer, and Partly the Story of What Hate Does to Those Who Observe It and Those Who Manufacture It
    Contents Cover Title Page Copyright Dedication Epigraph Introduction Chapter 1: On Hating Chapter 2: The Jews Chapter 3: Boots on for the Boogaloo Chapter 4: Operation Ashlynn Chapter 5: Adventures with Incels Chapter 6: That Good Old-Time Religion Chapter 7: Tween Racists, Bad Beanies, and the Great Casino Chase Chapter 8: Getting to the Boom: On Accelerationism and Violence Chapter 9: Antifa Civil War Chapter 10: We Keep Us Safe Afterword Discover More Acknowledgments Endnotes Copyright © 2020 by Talia Lavin Cover design by Keith Hayes Cover copyright © 2020 by Hachette Book Group, Inc. Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Hachette Books Hachette Book Group 1290 Avenue of the Americas New York, NY 10104 HachetteBooks.com Twitter.com/HachetteBooks Instagram.com/HachetteBooks First Edition: October 2020 Published by Hachette Books, an imprint of Perseus Books, LLC, a subsidiary of Hachette Book Group, Inc. The Hachette Books name and logo is a trademark of the Hachette Book Group. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to www.hachettespeakersbureau.com or call (866) 376-6591.
    [Show full text]