2018
DOI: 10.1353/thr.2018.0064
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Poet In The Pit: Slayer, Heavy Metal, and The Limits Of Poetry

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“…One of these is, in fact, that it only attends to a thin layer of the metal scene. Theorists of metal's affective intensities often focus on the experience of the mosh pit (Overell 2014; Riches 2016), the part of a gig's audience that engages in a rule-bound play of there being no rules, grouping in front of the stage to push and bump into each other in a (managed) risk to bodily integrity (Tsitsos 1999;Ambrose 2001;Palmer 2005;Hilbert 2018). But there are many other ways in which metal is experienced, not least in listening to recordings (see also Berger 1999, p. 271).…”
Section: Impieties and Intensitiesmentioning
confidence: 99%
“…One of these is, in fact, that it only attends to a thin layer of the metal scene. Theorists of metal's affective intensities often focus on the experience of the mosh pit (Overell 2014; Riches 2016), the part of a gig's audience that engages in a rule-bound play of there being no rules, grouping in front of the stage to push and bump into each other in a (managed) risk to bodily integrity (Tsitsos 1999;Ambrose 2001;Palmer 2005;Hilbert 2018). But there are many other ways in which metal is experienced, not least in listening to recordings (see also Berger 1999, p. 271).…”
Section: Impieties and Intensitiesmentioning
confidence: 99%