| Titre | La fabrication de l'authenticité | |
|---|---|---|
| Auteur | Richard A. Peterson | |
 |
Revue | Actes de la recherche en sciences sociales |
| Numéro | vol. 93, no. 1, 1992 L?invention du passé national /Le ghetto vu de l?intérieur | |
| Rubrique / Thématique | L'INVENTION DU PASSÉ NATIONAL |
|
| Page | 3-20 | |
| Résumé anglais |
Fabricating authenticity Authenticity is social construct and this fact is most clearly evident in the early stages of the development of commercially mediated cultural forms such as country music when great deal of misremembering is taking place In the mid-1920s US enter tainment industry entrepreneurs discovered demand for old time music but their urban-modemist ideological and aesthetic prejudices made it difficult for them to readily understand the demand Moral entrepreneurs of the time including the auto manufacturer Henri Ford sponsored revival of sanitized and regimented version of old-time music and dance which was rejected by the populace at large It took two decades of trial- and-error effort on the part of performers along with radio record company and movie industry innovators to fabricate the two personifications the hillbilly and the singing cowboy that were embraced by the fans of the day as authentic Source : Éditeur (via Persée) |
|
| Article en ligne | http://www.persee.fr/web/revues/home/prescript/article/arss_0335-5322_1992_num_93_1_3014 |
