List of Figures ix List of Tables xi...

List of Figures	ix
List of Tables	xi
List of Musical Examples	xiii
List of Contributors	xv
Foreword: Good Music \|\| Bad History Scott G. Bruce	xvii
Acknowledgements	xxi
Introduction Ruth Barratt-Peacock and Ross Hagen	1
Part I: Metal’s Medieval Frames
Chapter 1 The Trans-medial Fight for Glory Johannes Hellrich, Christoph Rzymski, and Vitus Vestergaard	13
Chapter 2 Medieval Media Transformations and Metal Album Covers Vitus Vestergaard	21
Chapter 3 Getting Medieval: Signifiers of the Middle-Ages in Black Metal Aesthetics Eric Smialek	35
Chapter 4 Computational Detection of Medieval References in Metal Johannes Hellrich and Christoph Rzymski	57
Part II: Nationalism and Identity in Metal Medievalism
Chapter 5 The Politics and Poetics of Metal’s Medieval Pasts Shamma Boyarin, Annika Christensen, Amaranta Saguar García, and Dean Swinford	71
Chapter 6 The New Metal Medievalism: Alexander the Great, Islamic Historiography and Nile’s ‘Iskander Dhul Kharnon’ Shamma Boyarin	81
Chapter 7 The Return of El Cid: The Topicality of Rodrigo Díaz in Spanish Heavy Metal Amaranta Saguar García	93
Chapter 8 Making Heritage Metal: Faroese KvæÐi and Viking Metal Annika Christensen	107
Chapter 9 Black Metal’s Medieval King: The Apotheosis of Euronymous Through Album Dedications Dean Swinford	121
Part III: Historical Source Materials in Metal Musics
Chapter 10 Finding the Past in the Present and the Present in the Past Ruth Barratt-Peacock, Ross Hagen, andBrenda S. Gardenour Walter	137
Chapter 11 Obsequiae: Reconciling ‘Authentic’ Medieval Musical Styles with Metal Ross Hagen	145
Chapter 12 The Villon that Never Was Ruth Barratt-Peacock	157
Chapter 13 Satanic Bowels: Medieval Inversion and the Black Metal Grotesque Brenda S. Gardenour Walter	171
Index	181

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