The Magick > Scholar Works

Barton, R. (2022). “Everybody’s Someone Else’s N****r”: Marilyn Manson as a Social Provocateur. Honors Thesis. Western Oregon University.

Paim, I. S. (2021). AS IMAGENS DIABÓLICAS NO ANTICRISTO DE MARILYN MANSON. In As Diferentes Faces de Lúcifer: o diabo e o diabólico nas artes (pp. 164–180). Editora Bordô-Grená.

McCrea, A. (2021). The never Alice: Marilyn Manson, gothic girlhoods and Phantasmagoria: The Visions of Lewis Carroll. In Shadow Cinema: The Historical and Production Contexts of Unmade Films (pp. 217–234). Bloomsbury Academic.

Tate, D. J. W. (2019). Burqinis, Burqas and Marilyn Manson: Liberalism and Republicanism in the French and American Public Spheres. Oxford Conference Series – October 2019, 46.

Osborne, P. (2017). Constructing The Antichrist As Superstar: Marilyn Manson and the mechanics of eschatological narrative. Persona Studies, 3(1), 43–59.

Straga, L. (2017). Marilyn Manson's LP Trilogy. SAE Institute Belgrade.

Anderson, W. H. U. (2017). From Marilyn Manson to Amos: Navigating Pluralism in the Twenty-First-Century West. Evangelical Quarterly: An International Review of Bible and Theology, 88(4), 320–330.

d’Hont, C. (2017). “I Am Your Faggot Anti-Pope”: An Exploration of Marilyn Manson as a Transgressive Artist. European Journal of American Studies, 12(2).

Kampf, Z. (2017). Antichrist Superstar: Marilyn Manson and the Planetary Archetypes. Archai: The Journal of Archetypal Cosmology. Issue 6.

l’Amour laLove, P. (2017). Integration des Chaos: Marilyn Manson, Männlichkeit, Lust und Scheitern PL Academic Research. (Vol. 8).

Williams, J. L. (2017). Born This Way? Pop Culture’s Collision with the Freak of Nature. In J. L. Williams (Ed.), Media, Performative Identity, and the New American Freak Show (pp. 137–165). Springer International Publishing.

Matthews, E. (2015). The Sacred and the Profane in the Idea of Marilyn Manson. UnLondon’s 121 Studios Public Lecture Series, London, Ontario, Canada.

Finkel, M. R. (2015). Manson and Althusser. Critical Approaches to Social and Cultural Theory.

Pivec, N. (2015). Drags, Drugs and Dirt: Abjection and Masculinity in Marilyn Manson’s music video (s)AINT. Masculinities - A Journal of Identity and Culture.

Pomeroy, M. (2015). The Grotesque, Hybrid Bodies, and Marilyn Manson. Ray Browne Conference on Cultural and Critical Studies.

Jovanovic, R. (2014). Marilyn Manson.

Wolfe, J. (2013). Pushing Boundaries with Marilyn Manson. American Cinematographer: The International Journal of Film & Digital Production Techniques.

Masterman, B. P. (2012). “It’s All Me… In One Way or Another”: Transgressive Queer Embodiment in the Music Videos of Marilyn Manson. Thesis. University of Pittsburgh. Dietrich School of Arts and Sciences.

Dirand, A. (2012). De l’articulation entre art et philosophie : l’exemple des personnages conceptuels de Gilles Deleuze à Marilyn Manson. Philosophique, 15, 147–163.

Dolmat, M. A.-H. (2012). A comparative analysis on harmony and arrangement of Sweet Dreams (Are Made of This) Thesis. Universiti Teknologi MARA.

Dineen, M. (2011). Stars down from Heaven. In Friendly Remainders: Essays in Music Criticism after Adorno (pp. 139–171). McGill-Queen’s University Press.

Freitag, K. (2011). Apocalypse Soon?: Religion and Popular Culture in the United States. LIT Verlag Münster.

Mallier, C. (2010). Marilyn Manson: Superstar Anti-Christ. Revue francaise detudes americaines, 125(3), 85–100.

Gilliam, M. C. (2010). Bibliography Of Marilyn Manson - PMSSEM. The Popular Music Section of the Society for Ethnomusicology.

Frymer, B. (2009). The Media Spectacle of Columbine: Alienated Youth as an Object of Fear. American Behavioral Scientist, 52(10), 1387–1404.

Springball, J. (2008). The Monsters Next Door: What Made Them Do It?” Moral Panics over the Causes of High School Multiple Shootings (Notably Columbine). In Moral Panics over Contemporary Children and Youth (1st ed.). Routledge.

Warnecke, K. (2008). Marilyn Manson & Eminem: Public Enemies n° 1.

Goodlad, L. M. E., & Bibby, M. (2007). Goth: Undead Subculture.

Wright, D. (2007). A brief look at the history of CENSORSHIP.

Miller, C. (2007). “Eat me, Drink Me”: A Marilyn Manson Discourse. Media Education Journal, 42, 26–30.

Toffoletti, K. (2007). Posthuman Monsters: The Erasure of Marilyn Manson. In Cyborgs And Barbie Dolls : Feminism, Popular Culture And The Posthuman Body (1st ed., pp. 81–106). I.B.Tauris; Bloomsbury Collections.

Halnon, K. B. (2006). Heavy Metal Carnival and Dis‐alienation: The Politics of Grotesque Realism. Symbolic Interaction, 29(1), 33–48.

Candeias, D. L. (2006). Análise semiótica do clipe This is the new shit, de Marilyn Manson. Estudos Semióticos, 2.

Carrasco, M. F. (2006). Entre el monstruo y el mártir: los vídeos musicales de Marilyn Manson (1995-2001). Boletín de Arte, 26–27, 759–782.

Damon, Desiree. (2005) The Last Day on Earth: Encoding and Decoding of Resistant Ideology in Music Video. Communication Honors Theses.

Halnon, K. B. (2005). Alienation Incorporated: ‘F*** the Mainstream Music’ in the Mainstream. Current Sociology, 53(3), 441–464.

Muzzatti, S. L. (2004). Criminalising Marginality and Resistance: Marilyn Manson, Columbine and Cultural Criminology. In Cultural Criminology Unleashed (pp. 143-152). GlassHouse Press: Cavendish Publishing Limited.

Collins B. D. (2004). Gods and Heroes Onstage: Archetypal Patterns Expressed by the Rock and Roll Performer. Dissertation. Pacifica Graduate Institute.

Bettez Halnon, K. (2004). Inside Shock Music Carnival: Spectacle as Contested Terrain. Critical Sociology, 30(3), 743–779.

Toffoletti, K. (2004). Catastrophic subjects: feminism, the posthuman, and difference. Thirdspace: A Journal of Feminist Theory and Culture, 3(2).

Peraino, J. A. (2003). LISTENING TO THE SIRENS: Music As Queer Ethical Practice. GLQ: A Journal of Lesbian and Gay Studies, 9, 433–470.

Bostic, J. Q., Schlozman, S., Pataki, C., Ristuccia, C., Beresin, E. V., & Martin, A. (2003). From Alice Cooper to Marilyn Manson: the significance of adolescent antiheroes. Academic Psychiatry: The Journal of the American Association of Directors of Psychiatric Residency Training and the Association for Academic Psychiatry, 27(1), 54–62.

Smeyers, P., & Lambeir, B. (2001). Carpe Diem: Tales of Desire and the Unexpected. Journal of Philosophy of Education, 35(2), 281–297.

Muzzatti, S. L. (2000). Post-industrial gothic punk “n” roll on route 666: labeling theory, moral crusades and Marilyn Manson’s Dead to the World tour. Thesis, Ph.D. York University.

Andersen, J. L. (2000). Marilyn Manson og unges identitetsdannelse. Historie Og Samfundsfag, Nr. 2, 18–24.

Wright, R. (2000). I’d sell you suicide: pop music and moral panic in the age of Marilyn Manson. Popular Music, 19(3), 365–385.

Gunn, J. (1999). Marilyn Manson is Not Goth: Memorial Struggle and the Rhetoric of Subcultural Identity. Journal of Communication Inquiry, 23(4), 408–431.

Wilson, H. A., & Castner, F. L. (1999). From Mickey Mouse to Marilyn Manson: A Search Experience. The English Journal, 89(1), 74–81.

Martín Alegre, S. (1999). Marilyn Manson: the limits of challenge. Universitat de València.

Burns, G. (1999). Marilyn Manson and the apt pupils of Littleton. Popular Music and Society, 23(3), 3–8.

Caldwell, N. (1999). Seen But Not Heard: Pop Culture Scapegoats and the Media Discourse Hierarchy. M/C Journal, 2(4).

Hall, T. (1998). 'The God of Fuck': A Look Behind the Hyperbole That Surrounds Marilyn Manson and His Band. Thesis, Ph.D. University of New Mexico.