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dc.contributor.authorTeitelbaum, Benjamin
dc.date.accessioned2015-03-19T14:32:50Z
dc.date.available2015-03-19T14:32:50Z
dc.date.issued2014
dc.identifier.citationI: Musikk etter 22. juli, s. 119-138nb_NO
dc.identifier.isbn978-82-7853-092-4
dc.identifier.issn1893-3580
dc.identifier.urihttp://hdl.handle.net/11250/279774
dc.description.abstractIn this chapter, I consider the ways Breivik’s interest and engagement with Saga’s music can illuminate his relationship with neo-Nazism. Focusing on his main discussion of the Swedish artist—that in Chapter 3.29 of his manifesto—I seek to uncover the channels through which Breivik came into contact with Saga’s work, what he knows about her past and fan base, and whether or not he is aware of all references in her lyrics. By investigating these questions, I provide insight into Breivik’s level of contact and familiarity with the wider neo-Nazi and white nationalist subculture as well as the extent to which Saga’s lyrics represent his true ideology.nb_NO
dc.language.isoengnb_NO
dc.publisherNorges musikkhøgskolenb_NO
dc.relation.ispartofseriesSkriftserie fra Senter for musikk og helse;7
dc.relation.ispartofseriesNMH-publikasjoner;2014:5
dc.subjectmusicologynb_NO
dc.subjectterrorismnb_NO
dc.subjectethnomusicologynb_NO
dc.subjectright-wing extremismnb_NO
dc.subjectAnders Breiviknb_NO
dc.title“The Path of Dreams": Breivik, Music, and Neo-Nazi Skinheadismnb_NO
dc.typeChapternb_NO
dc.typePeer reviewednb_NO
dc.subject.nsiVDP::Humanities: 000::Musicology: 110nb_NO
dc.source.pagenumberS. 119-138nb_NO


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