Doktori (Phd) Értekezés
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DOI: 10.15774/PPKE.BTK.2018.008 Doktori (PhD) értekezés Fejes János Budapest, 2018 DOI: 10.15774/PPKE.BTK.2018.008 Pázmány Péter Katolikus Egyetem Bölcsészet- és Társadalomtudományi Kar Irodalomtudományi Doktori Iskola Fejes János Bibliai és mitológiai minták recepciója az extrém metal dalszövegeiben Doktori (PhD) értekezés Az Irodalomtudományi Doktori Iskola vezetője: Dr. Hargittay Emil, DSc. egyetemi tanár Témavezetők: Dr. Bazsányi Sándor egyetemi docens Dr. habil. Kőszeghy Miklós egyetemi docens Budapest, 2018 DOI: 10.15774/PPKE.BTK.2018.008 Pázmány Péter Catholic University Faculty of Humanities and Social Sciences Doctoral School of Literary Studies Fejes János The Reception of Biblical and Mythological Patterns in the Lyrics of Extreme Metal Music Doctoral (PhD) dissertation Head of Doctoral School: Dr. Hargittay Emil DSc. Supervisors: Assoc. Prof. Dr. Bazsányi Sándor Assoc. Prof. Dr. habil. Kőszeghy Miklós Budapest, 2018 DOI: 10.15774/PPKE.BTK.2018.008 Table of Contents Acknowledgments ...................................................................................................................... 3 Köszönetnyilvánítás ................................................................................................................... 4 List of Tables .............................................................................................................................. 5 1. Introduction ............................................................................................................................ 6 2. Metal Studies .......................................................................................................................... 8 2.1. The Origin of Metal Music .............................................................................................. 8 2.1.1. Forging Heavy Metal: Preceding Black Sabbath ..................................................... 8 2.1.2. The Beginnings: Black Sabbath and Birmingham ................................................. 11 2.2. Overview of Academic Topics and Literature on Metal Music .................................... 13 2.2.1. Introduction: Possible Topics ................................................................................. 13 2.2.2. History of Metal Music .......................................................................................... 13 2.2.3. Sociology of Metal Music ...................................................................................... 15 2.2.4. Musicology of Metal Music ................................................................................... 18 2.3. Metal Music and Its Aesthetics ..................................................................................... 19 2.3.1. Heavy and Extreme Metal: Music and Madness .................................................... 19 2.3.2. The System of Sub-Genres ..................................................................................... 23 2.3.3. The “Metal Code” and “Underground Ethics” ....................................................... 28 2.4. The Verbal in Metal Music ........................................................................................... 35 2.4.1. Madness and Secrecy: Morbid Fascination of Evil ................................................ 35 2.4.2. The Place of Textuality Within Metal Music ......................................................... 44 2.4.3. On the Sources ....................................................................................................... 51 2.4.4. Partial Summary ..................................................................................................... 53 3. The Reception ...................................................................................................................... 54 3.1. Satanism and Christianity .............................................................................................. 54 3.1.1. Introduction: What is “Satanism”, what are “Satanisms”? .................................... 54 3.1.2. The Road to Mythological Metal Music ................................................................ 55 3.1.3. Satanist Metal Music .............................................................................................. 59 3.1.4. The Case of Christian Metal ................................................................................... 65 3.1.5. Partial Summary: The Place of Satanism within Mythological Metal ................... 68 3.2. The Ancient Middle East ............................................................................................... 70 DOI: 10.15774/PPKE.BTK.2018.008 3.2.1. Ancient Mesopotamia ............................................................................................ 70 3.2.2. Ancient Egypt ......................................................................................................... 81 3.2.3. The World of the Old Testament ............................................................................ 92 3.3. Hellenic-Roman Antiquity .......................................................................................... 105 3.3.1. General introduction ............................................................................................. 105 3.3.2. The Myth(s) of Prometheus .................................................................................. 106 3.3.3. Various Greek Myths ........................................................................................... 111 3.3.4. Roman Myths and Religion .................................................................................. 117 3.4. Viking Mythology ....................................................................................................... 120 3.4.1. General Introduction ............................................................................................ 120 3.4.2. The Myths of Creation ......................................................................................... 123 3.4.3. The Figures (and Myths) of Odin, Thor and Loki ................................................ 126 3.4.4. The Ragnarök ....................................................................................................... 132 3.5. Celtic Mythology ......................................................................................................... 138 3.5.1. General Introduction ............................................................................................ 138 3.5.2. The Book of Invasions ......................................................................................... 140 3.5.3. Cú Chulainn and His Myths ................................................................................. 144 3.5.4. The Morrigan ........................................................................................................ 147 3.5.5. King Arthur and His Myths .................................................................................. 151 4. Summary ............................................................................................................................ 155 4.1. Reading and writing .................................................................................................... 155 4.2. Categorization ............................................................................................................. 157 4.3. Conclusion and Further Directions ............................................................................. 168 5. Bibliography ....................................................................................................................... 170 5.1. Cited Literature ........................................................................................................... 170 5.2. Cited Musical Recordings ........................................................................................... 180 5.3. Cited Internet Sites ...................................................................................................... 186 Abstract .................................................................................................................................. 190 Absztrakt ................................................................................................................................ 191 2 DOI: 10.15774/PPKE.BTK.2018.008 Acknowledgments At the closure of such a great work I watch over with a grateful heart on those who supported and helped me throughout the years of writing my dissertation. First of all I thank my supervisors, Dr. Sándor Bazsányi and Dr. habil. Miklós Kőszeghy, without whose scholarly and human support this study would not become real. Their inspirative and constructive remarks and our conversations provided me with intellectual ammunition for the years to come. I alike thank my history and literature teachers of high school, András Cseri and Ágnes Bajusz for sewing the seeds for the love of humanities in me. I particularly thank my beloved wife Lili, who always had faith in me and with her sustained enthusiasm and love she could unburden my darkest hours. This way I also thank my family, my mother and my wife’s parents that they supported me with their love. Likewise I am thankful for my friends’ interest and emotional uphold, also for my dear colleagues at the PPCU FHSS Dean’s Office for enduring me through the process of research and writing. Last but not least I am grateful for my late father that with his living memory he inspires me for work and advancement up to today. 3 DOI: