This study is about the mythological figure Lilith, a female demon from Sumerian mythology who later became thename of Adam's first wife in some parts of Judaic faith. According to medieval folklore, she also appeared as aseductive demon who killed her lovers, a danger to women giving birth and eater of children. As a political symbol, shehas become known in some circles as the first feminist and a strong female character who has been demonized due toher independence and strong will. In popular culture, she has numerous incarnations in various media. The purpose ofthis study is to examine her portrayal in the lyrics of the metal band Cradle of Filth. The main material is the band'salbum Darkly, Darkly, Venus Aversa, its narrative follows the bands version of Lilith. To fulfill the purpose, a contentanalysis is used, with a gendered theory as perspective. This paper also examines the relationship between the theory ofocculture and contemporary music.The results show how Cradle of Filth takes inspiration from many myths about Lilith, but mainly conveys the image ofLilith as a succubus, the demonic temptress that kills her partners. She is described as the perfect woman, and thisincludes being violent, hypersexual and ambitious.

Le metal extrême, tiré du heavy metal, demeure souvent pointé du doigt en raison de la musique et des sujets transgressifs le caractérisant et qui, a priori, ne communiquent qu’une violence décousue. Or, ces dernières années, plusieurs musicologues se sont intéressés au potentiel de la narratologie pour l’analyse de la musique populaire; la chanson est alors considérée comme un véritable récit, où les musiciens transmettent leur propre vision du monde. Dans ce mémoire, je propose donc une analyse musicologique et narratologique de quatre chansons dites transgressives tirées du metal extrême, soit « Mad Architect » (Septicflesh), « Her Ghost in the Fog » (Cradle of Filth), « When the Joyful Dead are Dancing » (Unexpect) et « Puritania » (Dimmu Borgir). Ces analyses permettront donc de mieux comprendre la structure narrative et musicale interne, ainsi que les différents codes esthétiques régissant ce répertoire. / Extreme metal, derived from heavy metal, remains often singled out because of the music and subjects viewed as transgressive and which, a priori, communicate a disjointed violence. However, in recent years, several musicologists have been interested in the potiential of narratology for the analysis of popular music; the song is then considered as a true narrative, where musicians communicate their own conception of the world. In this thesis, I propose to perform a musicological and narratological analysis of four songs known as transgressive and derived from extreme metal, namely “Mad Architect” (Septicflesh), “Her Ghost in the Fog” (Cradle of Filth) “When the Joyful Dead are Dancing” (Unexpect) and “Puritania” (Dimmu Borgir). These analyses will enable a better understanding of the internal musical structure and narrative, and the different aesthetic codes governing this repertoire.