BEM VINDO ANO ZERO: O SINCRETISMO PARÓDICO NO EVANGELHO DE PAPA EMERITUS E DA BANDA GHOST
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Flavio Pereira Senra

BEM VINDO ANO ZERO: O SINCRETISMO PARÓDICO NO EVANGELHO DE PAPA EMERITUS E DA BANDA GHOST

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Introduction

Bem vindo ano zero: o sincretismo parÓdico no evangelho de papa emeritus e da banda ghost. Descubra como a banda Ghost, em 'BEM VINDO ANO ZERO', apropria-se da liturgia católica, ressignificando-a em estética satanista via sincretismo e paródia cultural.

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Abstract

O presente artigo tem como objetivo investigar como a banda sueca Ghost se apropria de inúmeros elementos da liturgia do Catolicismo, ressignificando-os em prol de uma proposta estética de cunho satanista. A partir deste ponto, observa-se nas enunciações estéticas do grupo (tanto líricas quanto musicais e imagéticas) dois processos-chave, o de sincretismo e o de paródia, mecanismos recorrentes nas manifestações culturais da Contemporaneidade.


Review

The proposed article, "BEM VINDO ANO ZERO: O SINCRETISMO PARÓDICO NO EVANGELHO DE PAPA EMERITUS E DA BANDA GHOST," presents a highly engaging and timely investigation into the appropriation of religious iconography and themes within contemporary popular culture. The abstract clearly outlines an ambitious objective: to analyze how the Swedish band Ghost re-signifies elements of Catholic liturgy to forge a distinct satanic aesthetic. This topic holds significant interdisciplinary appeal, bridging religious studies, musicology, and cultural theory, and promises to shed light on the complex interplay between traditional belief systems and modern artistic expression. The chosen case study of Ghost, with its elaborate visual and lyrical narratives, is particularly fertile ground for such an exploration. The analytical framework posited in the abstract appears robust and well-suited for the subject matter. The identification of "syncretism" and "parody" as key processes is particularly strong, offering sophisticated theoretical lenses through which to examine the band's aesthetic enunciations. By promising to analyze these mechanisms across lyrical, musical, and imagistic dimensions, the article signals a comprehensive and multi-modal approach that should capture the depth and breadth of Ghost's artistic strategy. Furthermore, situating these processes as "recurrent mechanisms in contemporary cultural manifestations" elevates the study beyond a mere case analysis, suggesting its potential to contribute to broader discussions on cultural innovation and transgression in the 21st century. While the abstract provides a compelling outline, the full article would benefit from a more explicit discussion of the specific theoretical underpinnings that will guide the analysis of syncretism and parody (e.g., specific scholars or schools of thought). It would also be valuable to understand how the "satanic aesthetic proposal" will be defined and critically examined, moving beyond a simple oppositional stance to explore its inherent characteristics. Consideration of the precise methodology for analyzing the interplay between the appropriated Catholic elements and their re-signification, perhaps through semiotics or discourse analysis, would further strengthen the paper's analytical rigor. Overall, this promises to be a highly insightful contribution to the understanding of how music and performance can serve as sites for profound cultural critique and re-imagination.


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