Metallica the state/Metallica the war machine: A Deleuzoguattarian analysis of the world’s biggest metal band
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Notice bibliographique
Résumé
Metallica has offered a diverse catalogue of music and breadth of performance over their careers. As a band occupying an integral cultural placement as measured by both level of fame and influential import, many academic inroads have been opened to their work, career and music. These lines of inquiry, along with more general lines of inquiry into the genre of heavy metal itself, frequently position Metallica as the unofficial ambassadors of the music. However, despite the depth and breadth of research devoted to these areas, an underdeveloped opening exists when it comes to the potential parallels and connections between the music and actions of Metallica and the philosophical works of Gilles Deleuze and Felix Guattari, specifically their notions of the state and the nomadic war machine. These theories serve as the basis of exploration in this research and provide new considerations and perspectives of both the career of Metallica and the larger implications to the study of popular music. The relations between Deleuze and Guattari and popular music offer many connections and examples, but the work of Metallica was selected as a representation of all of these connections as they are the ideal band from which to launch and develop these notions. Metallica is a group with clear distinctive phases to their career that fall within the concepts of the war machine (1981–91) and the state (1991–2008). While Metallica is not the only example of a band that falls into these dichotomous categorizations, they offer the best opportunity to define and clarify the connections to the ideas of Deleuze and Guattari. This can then be applied to other bands, genres of music and aspects of popular culture. Metallica is symbolic of this undertheorized connection to the works of Deleuze and Guattari. While these theoretical connections to the ideas of Deleuze and Guattari may not serve as the final piece to a full comprehension of the complexities of Metallica’s controversial career, they offer insights and open nascent pathways towards further analysis of the band. This is important because they have existed both on the fringes of marginalization and as a significant part of the discourse of popular culture.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,004 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,014 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle