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Sarabernardyzacja, kwestia żydowska i upadek moralny O warszawskich fankach Sary Bernhardt

100%
Łuksza A.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 159
1-35
EN
My article discusses the phenomenon of ‘sarahbernhardtisation’, which occurred in the winter of 1882 in Warsaw as a result of Sarah Bernhardt’s guest performances in one of the city’s theatres. It consisted in imitating the appearance and manner of the French star. I suggest that the sarahbernhardtisation is an example of early fan practice, where fascination with the idol coincided with the need to break the hegemonic model of femininity. I also argue that the anti-Jewish riots that preceded the French actress’s visit to Warsaw were of crucial significance for the social reception of Bernhardt and the wave of fan mimicry inspired by her.
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Speculation over the Love for Rock Music. Media Constructions of Groupies Between the 1960s and 1970s

72%
Karbownik K.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2021
|
vol. 13
|
issue 2
47-56
PL
Media muzyczne skonstruowały tożsamość groupies jako obiektów seksualnych i biernych, uległych, nieautentycznych konsumentek muzyki. Stereotyp, choć wciąż jest obecny w kulturze popularnej, spotyka się z krytyką zarówno ze strony samych zainteresowanych, jak i artystów rockowych. W tym artykule podjęto próbę omówienia roli, jaką odegrały groupies w tworzeniu mitu i postaci boga rocka, przy jednoczesnym uwzględnieniu utartych z góry założeń utrwalonych przez popularne media. Uwzględniono narracje z uczestnictwa groupies na budującej się scenie rockowej i metalowej, które stworzyły też osobowość męskiego muzyka rockowego: dzikiego, agresywnego i potężnego. Podstawą dyskusji o groupies i ich roli w budowaniu tożsamości w kontekście muzyki rockowej jest głęboka, retoryczna analiza biografii groupies, materiałów prasowych, filmów, literatury naukowej oraz badania własne.
EN
The music media have constructed the identity of groupies as sexual and passive objects, submissive, inauthentic consumers of music. The stereotype, although still present in popular culture, is criticized by both the interested parties and rock artists. This article is an attempt to discuss the role that groupies played in the creation of the myth and character of the rock god, while taking into account the preconceived assumptions held by the popular media. Narratives of groupies’ participation in the emerging rock and metal scene have also been included as the ones which created a male rock musician identity: wild, aggressive and powerful. The basis for the discussion of groupies and their role in building identity in the context of rock music is the result of a deep, rhetorical analysis of groupies’ biographies, press materials, films, scientific literature and own research.
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