Performing Gender - Hell Hath No Fury Like a Woman Horned

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dc.contributor.advisorBeliveau, Ralph
dc.contributor.authorFlansburg, Glenn
dc.contributor.committeeMemberCarstarphen, Meta
dc.contributor.committeeMemberGerber, Casey
dc.date.accessioned2021-01-28T17:14:32Z
dc.date.available2021-01-28T17:14:32Z
dc.date.issued2021-05-14
dc.date.manuscript2020-12-10
dc.description.abstractHeavy metal has traditionally been a predominately masculine form of music and artistic expression. Many previous scholars have identified a lack of women in the genre to be one of the leading reasons for its misogynistic nature. Traditionally, heavy metal speaks primarily to young, white, working class, heterosexual men. Lyrical content varies from sexual to violent and to the occult. The last decade has seen strides with diversity within the heavy metal community and some scholars claim it is no longer hegemonically masculine, but in fact, in a constant state of flux and diverse in its expression (Scott, 2016). Utilizing Critical Discourse Analysis (CDA), this study will examine heavy metal lyrics by women lyricists. I propose that Stuart Hall’s encoding and decoding theory (1980) guided by feminist communication theory framework (Rakow & Wackwitz, 2004) should offer the greatest potential for addressing how women within the heavy metal music genre use their lyrics as tools for highlighting dominant, hegemonic gender roles within the heavy metal community.en_US
dc.identifier.urihttps://hdl.handle.net/11244/327529
dc.languageen_USen_US
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectSpeech Communication.en_US
dc.subjectMass Communications.en_US
dc.subjectPsychology, Social.en_US
dc.thesis.degreeMaster of Artsen_US
dc.titlePerforming Gender - Hell Hath No Fury Like a Woman Horneden_US
ou.groupGaylord College of Journalism and Mass Communicationen_US

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