Abstracts
Résumé
Que le milieu du métal extrême cultive des liens conflictuels avec la religion n’a rien de nouveau. Toutefois, l’engagement du métal extrême avec « Dieu » est éminemment complexe en ce sens qu’il va bien au-delà du simple concept de dérision, de dédain ou de satyre. À travers une analyse approfondie de l’album Monotheist de Celtic Frost, et de la compilation Through the Cervix of Hawaah / λόγος d’Antediluvian, le présent article explore l’engagement souvent réfléchi et sincère, mais critique, qu’entretient le métal extrême avec Dieu et la religion, et ce, par l’entremise d’une voix très particulière que nous percevons dans la philosophie métal-extrémiste. Adoptant la forme d’une déconstruction de la mythologie chrétienne, cette voix emprunte des aspects paradoxaux du religieux — où les aspects étiologiques d’un mythe sont minés, non pas par une analyse raisonnée, mais par la répétition inversée de récits bibliques et mythologiques.
Abstract
That extreme metal has had a conflictual experience with religion is nothing new. However, extreme metal’s engagement with “God” is much more complicated than mere mockery, disdain or satire. This article will explore, through a close analysis of Celtic Frost’s Monotheist, and Antediluvian’s Cervix of Hawaah and λόγος, the often sincere and thoughtful, yet critical, engagement with God and religion through a very particular voice that I see within the extreme metal ethos. This voice takes the form of deconstructing Christian mythology through the paradoxical aspects of the religious — where the aetiological aspects of a myth are undermined not by reasoned analysis but through the inverted repetition of biblical stories and mythology.
Appendices
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