Classical Antiquity in Heavy Metal Music

Cover page\nHalftitle page\nSeries page\nTitle page\nCopyright page\nCONTENTS\nFIGURES\nCONTRIBUTORS\nACKNOWLEDGMENTS\nINTRODUCTION: WHERE METAL AND CLASSICS MEET\n	Classics and Classical Studies\n	Reception Studies\n	Reception in music\n	Heavy metal and its history\n	The rise of Mediterranean metal\n	Metal Studies as emerging field\n	Key themes and organization\n	Conclusion\n	Notes\nCHAPTER 1 VERGIL’S AENEID AND NATIONALISM IN ITALIAN METAL\n	Why Vergil? The Aeneid and its reception\n	The “nationalistic turn” in heavy metal\n	Introducing the bands\n	Comparison of the albums\n	The connection between Italy and the Roman Empire in Heimdall and Stormlord\n	Nationalism in other Italian metal\n	Conclusion: Nationalisms in Mediterranean metal\n	Notes\nCHAPTER 2 ETERNAL DEFIANCE: CELTIC IDENTITY AND THE CLASSICAL PAST IN HEAVY METAL\n	We are Helvetios\n	Meet the enemy\n	An enemy stereotype\n	Our barren sacrifice\n	On torrid sand\n	The head of a Roman emperor\n	The eagle and the dragon\n	Conclusion\n	Notes\nCHAPTER 3 SCREAMING ANCIENT GREEK HYMNS: THE CASE OF KAWIR AND THE GREEK BLACK METAL SCENE\n	A brief introduction to ancient Greek hymnography\n	Black metal for beginners\n	Black metal worship: Ancient Greek hymns in the discography of Kawir\n	Hymnic conventions in the black metal mold: Kawir’s contemporary hymns\n	The influence of Kawir and the extreme politics within the Greek black metal scene\n	Conclusion\n	Appendix\n	Notes\nCHAPTER 4 CASSANDRA’S PLIGHT: GENDER, GENRE, AND HISTORICAL CONCEPTS OF FEMININITY IN GOTHIC AND POWER METAL\n	Introduction: Genres, gender, and the Classics\n	Theatre of Tragedy: Under the Aegis of Classical antiquity\n	Watch your step, Cassandra: A Classical model of tragic femininity\n	Troubled heterosexuality: Beauty and the beast\n	Homosocial bonding: Blind Guardian and power metal\n	Conclusion\n	Notes\nCHAPTER 5 HEAVY METAL DIDO: HEIMDALL’S “BALLAD OF THE QUEEN”\n	Notes\nCHAPTER 6 A METAL MONSTRUM : EX DEO’S CALIGULA\n	Metal and evil\n	The transmission and reception of Caligula\n	Caligula in metal\n	Caligula in Ex Deo\n	“I, Caligvla”\n	“The Tiberius Cliff (Exile to Capri)”\n	Conclusion\n	Notes\nCHAPTER 7 OCCULT AND PULP VISIONS OF GREECE AND ROME IN HEAVY METAL\n	Introduction\n	The great beast and a perennial philosophy: The ancient world in esoteric metal via the occult\n	Exotic pasts and forgotten books: The ancient world in esoteric metal via Robert E. Howard and H. P. Lovecraft\n	Conclusion\n	Notes\nCHAPTER 8 “WHEN THE LAND WAS MILK AND HONEY AND THE MAGIC WAS STRONG AND TRUE”: EDWARD SAID, ANCIENT EGYPT, AND HEAVY METAL\n	Introduction: Egyptomania and heavy metal\n	Conventionalism and transgression: Nile as a case study\n	Discursive transgressions: Metal narratives of Egypt\n	Sonic transgressions: Evoking the other\n	Bodily transgressions: Performing ancient Egypt\n	Sources and inspiration: Egypt and the occult\n	Orientalism and heavy metal: “Otherizing” Egypt\n	Conclusion: The reception of Egypt in heavy metal\n	Notes\nCHAPTER 9 CODA: SOME TRENDS IN METAL’S USE OF CLASSICAL ANTIQUITY\n	Metal’s place in Classical reception\n	Metal’s mediation of Greece and Rome\n	Metal and the future of Classical antiquity: More means of engagement\n	Conclusion\n	Notes\nBIBLIOGRAPHY\nINDEX