Form Of Nostalgia Research Articles

Forms of nostalgia in the rhetorical history of Jack Daniel’s

PurposeThis study aims to use a theoretical-based case study of two distinct ownership groups of the Jack Daniel’s brand to explore how rhetorical history (i.e. malleability of the past for strategic goals) may evoke and capitalize on different forms of nostalgia. Within, the authors configure four forms of nostalgia (i.e. personal, historical, collective and cultural) from the individual or collective interaction and level of direct experience one has with the past as lived or happened.Design/methodology/approachThis study uses an historical research approach which involved the identification of primary and secondary sources, facility tour, source criticism and triangulation to create themes of rhetorical history infused with nostalgic narratives using compelling evidence through rich description of this fusion.FindingsThe findings reveal how nostalgia-driven narratives reflecting different collective longing for the re-creation of an American Paradise Lost used by Jack Daniel (i.e. the man) and later but differently by Brown-Forman. This study uncovers how the company’s inherited past was used rhetorically throughout its history, beginning with the nostalgic story of Jack Daniel and the distillery’s nostalgically choreographed location in Lynchburg, Tennessee. This study delves into this setting to highlight the importance of symbols, details, emotional appeals and communications for collective memory and identity development and to showcase the ways in which they are influenced by different types and forms of nostalgia.Originality/valueThis study adds to a limited number of studies focused on understanding the impact of founders on an organization’s brand and how that is malleable. This study responds to scholarly calls to study the influence of sequenced historical rhetoric on an organization and highlight the relevance of social emotions such as nostalgia for rhetorical history. Finally, the theoretical contribution involves the advancing and construction of a theory typology of nostalgia previously proposed by Havlena and Holak in 1996.

Throwback to pre-pandemic days: A photo-elicitation study on organizational nostalgia.

As an unprecedented outbreak, the COVID-19 pandemic has restricted and dramatically changed several respects of life. In terms of working life, the transition to a remote working system has brought several changes and interrupted the continuity between past and present working life. In this case, this adversity has led people to past experiences and memories, and many people have used nostalgia as a crucial resource for alleviating the negative impact of the outbreak. In this context, as a form of nostalgia, the current study particularly investigated memories eliciting organizational nostalgia and antecedents and consequences of organizational nostalgia in the pandemic era. Photo-elicitation interview in general, and participant-driven photo-elicitation in particular, was used as a data collection method. A cross-sectional design was employed for this study. In total, 10 photo-elicitation interviews through 62 photos were carried out with participants in Turkey. The thematic analysis was used for coding and analyzing the interviews. The current study demonstrated that (1) participants feel nostalgic for managers, colleagues, events, job, and working environment-related memories; (2) lack of social connectedness, loneliness, anxiety, fear, and uncertainty triggers pandemic-induced nostalgia; and (3) pandemic-induced organizational nostalgia has an impact on the variety of emotions (regret, hope, pride, freedom, joy, peace, excitement, yearning, gratitude, sadness, and happiness) of employees in the pandemic era. This study contributes to overcoming the lack of studies investigating the nostalgic emotion of employees in the pandemic era and how this emotion might contribute to overcoming the effects of COVID-19.

Materializing Nostalgia: Feet, Youtube, and the Pilgrimage to Santiago de Compostela

Every year thousands of pilgrims, most on foot, travel to Santiago de Compostela, a medieval pilgrimage destination in northwestern Spain. Recent scholarship has mapped a historical shift of the focus in contemporary pilgrimage from the relics of St. James, ostensibly held in the crypt in Santiago’s cathedral, to the journey itself as a primary site of meaning and transformation. However, this scholarship has not addressed the ways in which the meaning of pilgrimage is bound up with pilgrims’ practices relating to their own and others’ bodies. Pilgrims’ feet, in particular, have become a fraught focus of contemporary pilgrimage. Pilgrims’ practices of walking the pilgrimage, together with recorded images of their feet in social media videos, work to materialize two forms of nostalgia. The first involves the desire to return to a past time of imagined authentic pilgrimage. The second encompasses a melancholic recognition of the fragility of the present moment and longing for human connection. A detailed reading of two YouTube videos documenting the care of pilgrims’ own and others’ injured feet allows for an analysis of how recorded images of feet posted by pilgrims on social media reveal the complex relationship between bodies, social media, and nostalgia in pilgrimage.

«Чемпион мира» и «Одиннадцать молчаливых мужчин»: нормативный порядок современного российского кинематографа и ностальгия по советским спортивным победам

The article focuses on the feature films "The World Champion" and "Eleven Silent Men" released by the domestic cinema in the winter of 2021/2022, which relate to the genre of historical films about a specific event. In the absence of a universal theory and methods of analyzing historical cinema, an attempt is being made to consider films based on the assumption that they broadcast the mythologeme "USSR – The West". The current political situation is taken into account, characterized by the interest of the Russian state in the production of historical and patriotic motion pictures popular with the viewer, as well as the acute phase of confrontation between the Russian Federation and Western countries. The essence of historical films claiming to be connected with the modern context and going beyond the usual perception in the conditions of digital media communication is also taken into account. Using the example of the development of the "USSR – The West" mythologeme in feature films, the evolution of the "Us – Them" myth is shown and the approval of such a normative order in which Soviet sports victories acquire an epic scale and legendary dimension, and the actions of Soviet citizens are predictable, inscribed in the logic of rational, correct behavior. The actions of representatives of the Western world are associated with ambiguous, often caricatured images referring to heterogeneous socio-cultural phenomena. It is noted that an important factor in the success of films is what generation the audience belongs to, what forms of nostalgia they experience: this is both a restorative nostalgia, which allows us to recall the grandiose sports victories that the entire Soviet people were involved in, and a reflective nostalgia that focuses on details and contexts. After watching movies, the viewer begins to live as if in two realities. In one – cinematographic – the victories of Soviet athletes and almost fair play; in the other – objective – violations of international law and campaigns to discredit Russian athletes as heirs of Soviet winning traditions.

Losing Culture: Nostalgia, Heritage, and Our Accelerated Times

Losing Culture: Nostalgia, Heritage, and Our Accelerated Times

RE-IMMIGRATION OF EX-LAOTIAN REFUGEES IN INDONESIA: THE MEANING OF IDENTITY THROUGH NOSTALGIA FOR THE NEXT GENERATION

In 1975, the communist revolution in Laos forced approximately 400,000 Lao citizens into exile. They had no other choice besides leaving their home country. These refugees are scattered in western countries and neighboring countries in Southeast Asia, including Indonesia. The detachment of the ex-refugees next generation to their home country (Laos) becomes a problem in determining their identity when they return to Laos. This research focuses on narrating the identity of the next generation of ex-Laotian refugees in Indonesia. The next generation of ex-Laotian refugees in Indonesia interprets their identity as Indonesians rather than Laotians. This study will provide an overview of how identity is interpreted as a structure of feeling for a space in the form of nostalgia. Considering the phenomenon of forced migration will form a sentimental sense that forms self-determination to define the next generation of ex-Laotian refugees' identity. Through Cultural Studies especially using ethnography, this research will examine how the identity of the next generation of ex-refugees is constructed through a series of nostalgia for their refugee places in Indonesia.KEYWORDS: refugees, next-generation, identity, structure of feelings

On the Trail of a Nostalgic Adventure

This article examines the music of the Pokémon franchise through the concept of nostalgic potential—a newly coined term defined as music’s capacity to evoke, enhance, and exploit wistful sentiment through specific and identifiable musical elements. The nostalgia identified here is childhood brand nostalgia, a concept identified by A. B. Shields and J. W. Johnson, a particularly potent form of this emotion of reminiscence for a person’s youth upon exposure to a brand or franchise. This article will illuminate how we can identify specific musical elements as contributing to the nostalgic potential of musical material by using newly adapted gestural analytical techniques. In identifying such elements, analyses will point to how we can determine the locus of the nostalgic potential, in this case, as being located in the sense of adventure, a key ludic component of Pokémon video game iterations. This article will outline two case studies that greatly contribute to the generation, evocation, enhancement, and exploitation of the nostalgic potential located in two video game music texts—namely the Pokémon Center theme and Route/Wild Area music across multiple franchise iterations. This research substantially contributes to our understanding of nostalgia in relation to musical texts whilst providing a new, workable, and sufficiently adaptable framework for identifying how childhood brand nostalgia—and by extension, other forms of nostalgia—can be evoked and enhanced by video game music texts and their franchises.

The NBA Isn’t What It Used to Be: Racialized Nostalgia for ‘90s Basketball

Soon after the Covid19 pandemic hit, sports were halted, resulting in a natural hiatus ripe for collective memory practices. For basketball culture, this remembrance predominantly took the form of nostalgia, mostly for the 1990s and the Michael Jordan era through ESPN’s series The Last Dance; when professional men’s basketball is considered to have been better. In this paper, we ask what this perceptional superiority signifies. We find that the nostalgic story of ‘90s NBA, told by fans and media pundits, has three characteristics. First, the game was tougher, competitive, not amicable, less globalized, hence, more masculine. Second, team loyalty mattered more in the past and hence players stayed with a sole team, as they tried to defeat worthy rivals. Third, the sport was apolitical. We argue that this sporting nostalgia, which intersects with dominant ideas about masculinity, competition, celebrity, and American society’s “apolitical” relationship to sport, is used as a cultural corrective to police the actions of current Black NBA players on and off the court. Through the juxtaposition of lead characters of Michael Jordan and Lebron James, nostalgia is used as a racialized symbolic boundary marker to reinforce and produce the “right” professional Black athlete deserving of public adoration.

“I Like to Remember Things My Own Way”: Metaleptic Nostalgia in the Neo-noir Cinema of David Lynch

This essay focuses on the possibility of articulating a form of nostalgia in film not tied to an opposition to irony. It concentrates on the neo-noir cinema of David Lynch precisely because he is a master of balancing nostalgic sincerity and postclassical irony within the same film. Therefore, the essay argues that the films of David Lynch present the viewer with a way out of the postmodern deadlock where nostalgia remains less radical than irony. To make this argument, the essay utilizes Giambattista Vico's notion of the ricorso from book 5 of The New Science in order to situate Lynch's unique position within the history of film noir as a genre. Vico's poetic developmental scheme, which relies on the “four master tropes” (metaphor, metonymy, synecdoche, and irony), is adapted to the historical evolution of film noir as a genre. The essay then translates Vico's ricorso into a fifth master trope, metalepsis, and connects Lynch's form of postnostalgic uncanny (and Vico's ricorso) to metalepsis (in both the tropological and narrative sense) to show how Lynch moves neo-noir beyond the structure of irony without flirting with the new sincerity or metamodernism.

No Man’s Land: Mutant Natures in Canadian Eco-Horror Film

This essay aims to analyze the significance of Canadian “eco-horror” film within the so-called “Anthropocene” era, wherein it functions as a form of nostalgia and vehicle for imagining the liberation of nature from under the yoke of cultural repression. Assuming Canadian director Adam MacDonald’s critically lauded natural horror film Backcountry as its centerpiece, this essay surveys eco-horror’s reversal of heteropatriarchal masculinity and settler thinking by confronting it with a monstrous image of nature wholly distinct from the Canadian mythos of “beneficent” natural world submitted to the will of Man.

‘A Couple of These Videos Is All You Really Needed to Get Pumped to Skate’: Subcultural Media, Nostalgia and Re-Viewing 1990s Skate Media on YouTube

The reappearance of VHS skateboarding movies produced during the 1990s on YouTube presents a timely opportunity to examine how the subcultural identities of former skateboarders are reassessed in later life. Drawing on subcultural studies and theories of mediated memory, this article analyses comments made by viewers of YouTube re-postings of 411 Video Magazine, an era-defining skateboard movie series of the 1990s. The analysis suggests that re-viewing content of once cherished VHS tapes affords former skaters a nostalgic moment of reconnection with their youth involving a combination of three forms of nostalgia: subcultural nostalgia, biographical nostalgia, and format nostalgia. For many viewers, re-viewing skate videos retrospectively recognizes the formative role skateboarding played in shaping their identity and also allows an appraisal of both the past subcultural formation and the media format through which its values were expressed and communicated.

Nostalgický chronotop pražského tanga

This article deals with the study of the Prague tango as a nostalgic practice. It presents the fragments and the findings from the ethnography that the author has been carrying out at the tango parties in Prague since autumn 2019. Emphasis is put on the forms of nostalgia, but not on its objects. The ethnography is based on the theory of body techniques by Marcel Mauss and the conception of dance resources by Susan Lee Foster. Kinaesthetic empathy – a methodology of movement observation – helps describe the narratives that the dancing couples create. as Also, Bakhtin’s concept of chronotopes is used to interpret the collected data. The article covers the Prague tango scene from 2018 to the present. One tango party and narratives of two dancing couples are described in detail. At this time, we can describe five forms (or techniques) of nostalgia in the Prague tango community. These include the ironic use of the vintage attributes of tango, creating and distributing romanticized stories related to tango, unconventional behaviour that helps local tango dancers escape from the normalized reality of the contemporary city, the specific way of listening to old music, and the polyphony of the dancing narratives. The study to which this paper is devoted to should become an example of how modern urban citizens can create new ways of gathering and feel an emotionally meaningful experience.

‘Terres vaines et vagues’: Ecocriticism and Breton Wastelands in Visual and Literary Representation

Despite their long histories as a culturally valuable commons and sites of biodiversity, the Breton landes were frequently depicted by nineteenth-century authors, travellers and administrators as wild, unproductive wastelands. While the architects of France's ‘interior colonization’ identified such areas as an ugly, infertile expanse to be cleared and put to use, many visual artists were producing a compelling counter-narrative, representing the landes and zones humides as places of beauty and reverie. This article examines the work of artists such as François Blin, Camille Bernier, Alexandre Ségé and Henri Rivière from an ecocritical perspective, arguing that their work contributed to a discourse of preservation by encouraging new ways of seeing the land, not for its extractive utility but as a space of unexpected splendour and enchantment. Far from a regressive form of nostalgia, these images encourage a unique ‘dwelling perspective’ which uses aesthetic beauty to reveal the area's ecological potential and to articulate a call for responsible environmental stewardship.

Do We Need (to Remember) Another Hero or Heroine? Some Thoughts on the History of Commemoration and Memory in Canada

This article asks questions about the place of gender relations in the current scholarship on the history of commemoration and public memory in Canada. It surveys the current historiography on women’s work as avocational historians – representations of women and gender – and suggests ways of furthering our understanding of masculinity in the history of public memory. I also raise questions about the role of personal and intimate memories in the history of commemoration and the place of affect and emotion in it and other forms of memory. The article concludes with suggestions for further research into areas such as death and mourning, daily and intimate life, forms of nostalgia, holidays and festivals, and tales of haunting.

Nostalgia for ‘HMP Divis’ and ‘HMP Rossville’: Memories of the Everyday in Northern Ireland’s High-Rise Flats

The Divis and Rossville Flats in Derry and Belfast were high-rise housing projects built as part of Terence O’Neill’s modernizing 1960s vision for Northern Ireland. They became notorious during the Troubles in Northern Ireland as sites of state and non-state violence, and emblematic of the deprivation and suffering of Catholic communities. Following prolonged campaigns by residents, the flats were demolished in the 1980s and 1990s. Drawing on oral testimonies collected after the near-total demolition of both spaces, this article argues that there are similarities in the cultural memory of both spaces. This is firstly apparent in their evocation of the materiality of the flats, and secondly apparent in their negotiation with the iconic status of Divis and Rossville in relation to the Troubles. Finally, we argue that while both sets of sources mobilize forms of nostalgia to narrate the history of the flats, this nostalgia is differently-inflected across both sites.

Migrant and Minority Nostalgia in Karen Tei Yamashita’s Circle K Cycles

This essay explores the concept of nostalgia through an analysis of Circle K Cycles (2001), a creative (auto)ethnographic text in which the Japanese American writer Karen Tei Yamashita portrays Japanese Brazilians’ ethnic return migration to Japan in the 1980s and 1990s. In the face of social marginalisation and the hegemonic pressures of Japanese culture to conform to a standard of ‘pure Japaneseness’, Japanese Brazilians reinforce their attachment to Brazil, which they express in the form of nostalgia, or saudade. Yet Yamashita criticises any idea of cultural separateness and ‘purity’, both by experimenting with form and by describing phenomena of cultural hybridisation.

Migrant and Minority Nostalgia in Karen Tei Yamashita’s Circle K Cycles

This essay explores the concept of nostalgia through an analysis of Circle K Cycles (2001), a creative (auto)ethnographic text in which the Japanese American writer Karen Tei Yamashita portrays Japanese Brazilians’ ethnic return migration to Japan in the 1980s and 1990s. In the face of social marginalisation and the hegemonic pressures of Japanese culture to conform to a standard of ‘pure Japaneseness’, Japanese Brazilians reinforce their attachment to Brazil, which they express in the form of nostalgia, or saudade. Yet Yamashita criticises any idea of cultural separateness and ‘purity’, both by experimenting with form and by describing phenomena of cultural hybridisation.

REPRESENTATION OF NOSTALGIA IN THE PROGRAM MEMORI MELODI IN TVRI NATIONAL

This study describes the representation of nostalgia in the “Memori Melodi” music program in the episode Tribute To Yon Koeswoyo. This study uses a construction approach from the representation of Stuart Hall. The sampling technique uses purposive sampling technique. Data collection used is observation without a roleplay and interviews. Data analysis used Miles and Huberman model data analysis which consisted of data reduction, data presentation, conclusion drawing and verification. The results of this study indicate there is a nostalgic representation in the music program of “Memori Melodi” episode Tribute To Yon Koeswoyo. The appearance of nostalgic is constructed through verbal and non-verbal language in each segment. The construction of social interactions between the performers (host, singer, audience) and sensory input (music, visual, narrative about Koes Plus and Yon Koeswoyo, and expressions of the performers) is a form of nostalgia in the Tribute To Yon Koeswoyo's episode. This nostalgic representation is useful knowledge about the reappearance of nostalgia in music programs on television.

Undetectable?

In recent years, the ‘end of AIDS’ has been at the top of the international scientific and political agenda. At the same time, attention to the dark years of the epidemic is increasing, revealing a form of nostalgia for a time of collective mobilization. But what is to be said of the current state of the disease, between the nostalgia for a tragic past and the hope of a world without AIDS? This think piece was prompted by the increasing erasure of contemporary experiences of the sickness. At a time when we have the means to render HIV biologically undetectable, I propose to explore another of the virus’s materialities: its social and historic inscription in urban settings, in particularly in Montreal’s gay neighbourhood.

Detective Fiction, Nostalgia and Rian Johnson'sKnives Out: Making the Golden Age Great Again

The Golden Age is back with a vengeance: reprints, re-boots, and adaptations of interwar detective fiction and its off-shoots have proliferated in the twenty-first century, as have works more loosely, but nonetheless substantially, inspired by the clue-puzzle format developed and perfected by authors like Agatha Christie. This resurgence of the ‘whodunnit’ mystery is something of mystery itself, as the centre of gravity of crime writing has long shifted away from this ostensibly dated and aesthetically limited form. This paper explores this unexpected development, looking in particular at the role of nostalgia in relation to new Golden Age mysteries. While nostalgia is frequently, and quite justly, viewed in negative terms as a personally and politically regressive phenomenon, in some cases, as in Rian Johnson’s murder mystery Knives Out (2019), examined here, it can be used not simply as a dubious marketing or aesthetic strategy, but as part of a broader social critique in which one form of nostalgia is used to critique another.