scholarly journals Ronnie James Dio

Author(s):  
Geoffrey V. Carter

Although Ronnie James Dio is often parodied for his lyrical ruminations on dragons, demons, and other Dungeons and Dragons style phantasmagoria, he maintained a humor about himself and possessed a capacity for openness unique to heavy metal. He is known for popularizing the devil horn hand gesture (“malocchio”) at rock shows, though he said its history extended back to his Italian Grandmother who used it as a way of protecting against someone’s evil eye. Dio also said his Grandmother could use it as a curse when provoked. Thus, Dio linked the symbol of the devil horns to protection as much as provocation. Carter’s work likewise considers the polarities in Dio’s work that made him the formidable artist of Heaven and Hell.

1995 ◽  
Vol 13 (2) ◽  
pp. 231 ◽  
Author(s):  
James M. Manheim ◽  
Robert Walser

1992 ◽  
Vol 21 (1) ◽  
pp. 7-22 ◽  
Author(s):  
Jon Trzcinski
Keyword(s):  

Sincronía ◽  
2021 ◽  
Vol XXV (79) ◽  
pp. 499-508
Author(s):  
Bianca Natascha Pérez González ◽  

Heavy Metal, as a movement of art and social commitment was born as an expression of counterculture in its denial to be part of a society plagued by ethical and moral incongruities, establishing Existentialism as its dominant philosophical foundation. In the decadent religious context that characterized the twentieth century, the french philosopher Jean- Paul Sartre begets two plays, No Exit (1944) and The Devil and the Good Lord (1951), that will come to lay the foundations of one of the most transcendent hells for contemporary thought: otherness. In his music, Black Sabbath, as a pioneering group of this musical genre, contains in his lyrics the Sartrean concept of The Otherness as earthly hell. From the symbolic deconstruction of the myth of heaven and hell from the Western Christian tradition, Black Sabbath re-signifies hell to propose a rational explanation of the problems of his time and to make it the metaphor for the disillusionment and nihilism of a modern Europe, in which mythical icons are being replaced by representations of concrete reality.


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